CAIRO: Nearly two years after the overthrow of autocrat Omar Bashir, Sudan is taking steps to rejoin the international community from which it was long shunned. That includes its film industry.
For the first time in its history, Sudan has a submission for the Academy Awards. Produced by a consortium of European and Egyptian companies but with a Sudanese director and cast, “You Will Die at Twenty” will compete in the Best International Feature Film category.
The story follows a young man whose death at the age of 20 is prophesied not long after his birth, casting a shadow over his formative years, and parallels the burdens placed on a generation of Sudan’s young people.
Based on a short story by Sudanese novelist Hammour Ziyada, critics say it demonstrates that the country’s cultural scene is reawakening after decades of oppression.
The film was produced amid mass demonstrations against Bashir, who was toppled by the military in April 2019 after ruling the country for nearly 30 years.
“It was an adventure,” filmmaker Amjad Abu Alala told The Associated Press. “There were protests in the streets that had grown to a revolution by the beginning of filming.”
Sudan’s uprising erupted in late 2018, and as the number of people in the streets swelled, many of them young, the military stepped in and toppled the Islamist president. Since then, the country has embarked on a fragile transition to democracy, ending years of theocratic rule that limited artists’ freedoms.
The film’s submission was announced in November by the country’s ministry of culture, a month before the second anniversary of the start of the uprising.
It follows a narrative written by Ziyada in the early 2000s that chronicles the life of a child in 1960s in a remote village, located between the Blue and White Nile rivers. The inhabitants are largely guided by ancient Sufi beliefs and traditions, a mystical strain of Islam.
The film starts when a mother, Sakina, takes her newborn boy to a Sufi ceremony at a nearby shrine as a blessing. As a sheikh gives his blessing, a man in traditional clothing performs a meditative dance, suddenly stopping after 20 turns, falling to the ground — a bad omen.
The frightened mother appeals to the Sheikh to give an explanation. But he says, “God’s command is inevitable.” At this point, the crowd understands this is a prophecy predicting the child will die at 20.
Stunned and frustrated, the father leaves his wife and son, named Muzamil, to face their fate alone.
Muzamil grows up under the watchful eye of his overprotective mother, who wears black in anticipation of his early demise. He is haunted by the prophecy — even other children name him “the son of death.”
Despite that, Muzamil proves to be an inquisitive boy full of life. His mother allows him to go to study the Qur’an. He receives praise for his memorization and recitation of verses. Then comes a turning point.
A cinematographer, Suliman, returns to the village after years working abroad. Muzamil, who is by now working as an assistant to the village shopkeeper, gets to know him through delivering him alcohol, a social taboo.
Suliman, who lives with a prostitute, opens Muzamil’s eyes to the outside world. Through their discussions, he starts to doubt the prophecy that has governed his life so far and torn his family apart.
As he turns 19, Muzamil takes it upon himself to decide what it means to be alive, even as death beckons.
The film has received positive reviews from international critics. It premiered at the 2019 Venice International Film Festival’s parallel section, Venice Days. It won the Lion of the Future for Best First Feature — the first Sudanese film to do so. Since then, it has won at least two dozen awards at film festivals worldwide.
Abu Alala says his team tackled obstacles in making the film, thrown up by the same conservative milieu that it depicts. He blames the environment created by Bashir, who came to power in a military coup in 1989. Under his rule, limited personal freedoms meant art was viewed with suspicion by many.
One major challenge, he said, was that local residents at the initial filming location objected to their presence. The crew was forced to move, but they persevered.
“We believed that it should be done under any circumstances,” Abu Alala said. He says that it was lucky that the film’s production period coincided with the cultural watershed moment of the uprising. The previous government wouldn’t have been a proponent of his work.
The movie has also been met with commendations from inside the region.
“It is a very real and local film that makes the audience feel all of its details whenever and whoever they are,” wrote Egyptian film critic Tarik el-Shenawy.
The film is only the eighth to be made inside Sudan. Abu Alala says that its selection shows Sudan has countless stories that remain untold.
“There wasn’t a film industry existing in Sudan — only individual attempts ... Sudan’s rulers — communists or Islamists — were not interested in cinema. They just were interested in having artists on their sides,” he said.
Now, he hopes that he and other filmmakers will have the freedom to share Sudan’s stories with the world.
A Sudan in transition presents first-ever film for Oscars
https://arab.news/w9dvs
A Sudan in transition presents first-ever film for Oscars
- Muzamil grows up under the watchful eye of his overprotective mother, who wears black in anticipation of his early demise. He is haunted by the prophecy — even other children name him “the son of death”
Recipes for success: Chef Georges Ikhtiar offers advice and a tasty beef recipe
DUBAI: Georges Ikhtiar, head chef at Amelia Dubai, grew up in Beirut, where he remembers watching his mother cook “by instinct, without recipes or rules.”
That early exposure sparked a curiosity not just for flavors, but for the process of cooking — how ingredients transform, how timing and technique matter. This eventually led him to Lebanon’s Ecole Hôtelière.
A pivotal career moment came during his time in Peru, where he was introduced to the country’s bold, acidic and layered flavors. This now shapes his approach at Amelia, where he blends Peruvian ingredients with Japanese methods.
Here, Ikhtiar reflects on how mistakes can lead to creative breakthroughs, and gives his thoughts on simplicity in cooking.
When you started out, what was the most common mistake you made?
Like many young chefs, I believed that more was more — that adding extra ingredients or steps would somehow elevate a dish. I loved experimenting, and while that spirit of curiosity still drives me today, I’ve learned that simplicity is key. The most powerful flavors often come from restraint and letting the ingredients speak for themselves.
What’s your top tip for amateur chefs?
Taste constantly. It’s the most important tool you have. And don’t let mistakes throw you off — every error is a lesson. Some of the best ideas I’ve had started as accidents. Cooking at home should be fun, not stressful.
What’s one ingredient that can instantly improve any dish?
In Peruvian cuisine, it’s definitely lime. It brings brightness, aroma and a sense of freshness that can completely transform a dish. Just a few drops can awaken the palate and sharpen and enhance every other flavor.
What’s your go-to dish if you have to cook something quickly at home?
A simple truffle pasta. I soak the pasta to speed up the cooking time, then toss it with a creamy truffle sauce, fresh shaved truffles and parmesan. It’s rich, comforting and comes together fast, but still feels luxurious.
When you go out to eat, do you find yourself critiquing the food?
Always. It’s part of the job. I’m always observing, analyzing, and seeing what I like or don’t like. But I keep it to myself; dining out is also about experiencing what other chefs are creating.
What’s the most common mistake you notice in other restaurants?
It’s usually to do with balance or execution, like undercooked elements, seasoning that is off, or dishes that feel overcomplicated.
What’s your favorite cuisine?
I gravitate toward Japanese and Peruvian food, naturally, but I’m always curious to explore. I like to see how others approach flavor, presentation and structure. Inspiration can come from the most unexpected places.
What request or behavior by customers most annoys you?
Honestly, nothing. I believe taste is subjective and the customer is always right. We’re here to create an experience that works for them, not just for us.
What’s your favorite dish to cook?
It is a dish called Adas be Hamid, which means lentils with lemon. My grandmother used to make it when I was growing up in Beirut. It’s incredibly simple but full of flavor and warmth. Cooking it always takes me back to my roots, and I love how food has the power to do that.
What’s the most difficult dish for you to get right?
Risotto. It’s a very delicate dish that reacts to everything — temperature, timing, movement, even the humidity. You have to be fully present when making it. One misstep and the whole texture is off.
As a head chef, what are you like? Are you a disciplinarian? Or are you more laidback?
I’m direct and hands-on, but not someone who shouts. I believe in open communication, mutual respect and building trust. My team and I have worked together for a long time, so we understand each other without needing to say much. There’s a flow in the kitchen when everyone is aligned, and that’s what I strive for.
Chef Georges Ikhtiar’s hokkaido machu picchu recipe
Ingredients:
For the beef:
250g beef tenderloin
Salt and black pepper, to taste
Cooked over a robata grill (or any hot grill pan)
For the teppanyaki vegetables:
2 tbsp vegetable oil
20g Chinese cabbage, chopped
3 rainbow baby carrots, sliced
20g mange tout (snow peas)
10g shiitake mushrooms, sliced
20g baby corn, halved
1 spring onion, thickly sliced
2 tbsp soy sauce
2 tbsp kimchi sauce
2 tbsp sake sauce (optional for extra depth)
For the shiitake sauce:
300g fresh shiitake mushrooms, sliced
1L fresh cream
200ml milk
Salt and black pepper, to taste
1 small onion, chopped
1 tbsp butter
Instructions:
1. Grill the beef:
Season beef with salt and pepper. Grill on a robata grill until cooked to your liking. Let it rest before slicing.
2. Sauté the vegetables:
Heat oil in a pan. Add the vegetables and stir-fry for a few minutes.
Add soy sauce, kimchi sauce, and sake sauce (if using). Stir well and cook until just tender. Season with pepper.
3. Make the shiitake sauce:
In a saucepan, sauté onions and mushrooms in butter until soft.
Add cream, milk, salt, and pepper. Bring to a boil, reduce heat, and let simmer. Boil twice to bring out full flavor, then remove from heat.
To plate:
Slice the grilled beef.
Place the sautéed vegetables on a serving plate.
Lay the beef slices on top.
Spoon the warm shiitake sauce to the side or over the top.
Optional: If using a hot stone for serving, you can lightly reheat the meat on it just before eating for a fun finishing touch.
Balad Al-Fann brings Saudi art to life
- Exhibition blends art and memories through archival materials, selected artworks, personal possessions and rare voice recordings
JEDDAH: The second edition of the Balad Al-Fann art program has opened in Jeddah Historic District and runs until June 15.
The initiative this time presents a captivating series of art exhibitions, held under the theme “Our Storied Walls,” which celebrate memory, culture and place.
It boasts a renewed focus on local narratives with each exhibition looking at the tangible and human heritage of the city.
Held at Nassif Boutique, the exhibition is a tribute to the late artist Hisham Binjabi, a foundational figure in Saudi Arabia’s modern art movement.
Curated by Ayman Yossri Daydban, a former student of Binjabi, the exhibition blends art and memories through archival materials, selected artworks, personal possessions and rare voice recordings.
Arab News spoke to Daydban, who is one of the most prominent contemporary artists in Saudi Arabia, with his works featuring in major museums and biennials.
He said: “This is a personal exhibition. My journey with Hisham Binjabi began over 35 years ago when he discovered my work, admired it, and encouraged me.
“For a whole year his name echoed in my mind, until I held my first solo exhibition in 1991. It was his encouragement and appreciation of my boldness — he said I thought outside the box — that pushed me forward. I found myself naturally drawn to contemporary art.”
Daydban’s art is conceptual, and rooted in ideas and meaning. Binjabi, on the other hand, remained faithful to classical and realist styles.
Daydban said: “For years we observed each other’s work from afar, and every time we met I felt like a student reuniting with his mentor.
“But Hisham was more than an artist — he was a social figure, a cultural activist who managed and promoted art within the community, bringing art into social and human contexts.
“His greatest influence was not just in his paintings, but in his presence, personality, and wisdom.”
The exhibition does not merely display Binjabi’s artworks — it narrates his life story through them.
His wife played a part by telling their story through her lens and, for the first time, her works are featured in a dedicated section alongside audio recordings of her and their daughters, reflecting on their lives together as a creative family.
An audio room on the upper floor features testimonials from contemporary artists who were his students or peers, and more recordings are added daily.
The exhibition unfolds across three levels: a deeply emotional audiovisual experience, a debut showcase of his wife’s personal works, and a collective sonic space for shared memory and reflection.
Daydban added: “Hisham was, above all, a socially engaged artist, and this exhibit is aimed primarily at the community of Al-Balad, where he lived and left his mark.”
The program also honors the late Safeya Binzagr, one of the first female visual artists in the Kingdom.
Curated by Effat Fadag, the exhibition weaves together the visual and literary in a journey filled with nostalgia, history and cultural memory.
The exhibition presents rare paintings, handwritten letters, and personal belongings that reflect Binzagr’s unique lens on Hejazi life. Her deeply human portrayals of women, homes, attire and rituals offer not only artistic beauty but also historic insight.
Titled “Revealing What Was Hidden,” the exhibition shows how Binzagr used her art to bring the past to life. Her work helps keep Saudi culture and history alive.
The event honors her role as an artist and historian, and Fadag said: “I asked myself: What can I say that hasn’t already been said? I wanted to highlight aspects of her journey that aren’t widely known.”
Binzagr was the first woman to publicly showcase her family and community life, giving a voice to the private lives of Saudi women — a society that was largely hidden at the time.
Fadag said: “I tried to reflect this (voice) through the layout of the exhibition, using the historic Nassif House, starting from the main building to the external annex, with three symbolic doors that narrate her story.”
This journey begins with Binzagr’s birth and upbringing, moves through her education, the exhibitions she held, and finally her artistic projects on Saudi traditional attire, which are featured on the second floor.
Fadag said: “In the clothing room you see very personal images — she even modeled for her work so she could better understand and express the exact details she wanted to paint. She knew exactly how to translate her vision.”
The final section focuses on giving back to the community, and how Binzagr impacted learning, the broader culture and society at large.
The initiative also puts the spotlight on a curated selection of winning works from a national photography competition, while Balad Al-Fann also hosts a competition showcasing traditional calligraphy, ceramics, ornamentation, and engraving.
Qatar’s ‘Beyti Beytak’ exhibition in Venice explores architecture’s roots in hospitality
- Show examines how traditional MENASA design ‘fosters belonging, dignity, and collective life’
DUBAI: Qatar’s first participation in the Venice Biennale of Architecture is a major exhibition spanning two sites in the Italian city — the ACP-Palazzo Franchetti, and the site of what will be the permanent Qatar Pavilion in the Giardini della Biennale. (That pavilion will be the first permanent addition to the historic gardens in more than 30 years.)
The exhibition, “Beyti Beytak. My Home is Your Home. La Mia Casa è la Tua Casa,” is presented by Qatar Museums and curated by the Art Mill Museum — Qatar’s yet-to-be-built museum of modern and contemporary art — and, according to a press release “explores meanings of hospitality within the architecture, urbanism and landscape designs of the Middle East, South Asia, and North Africa region.” It features examples from 30 architects, dating from the mid-20th century to the present day.
Aurélien Lemonier, architect and curator at the Art Mill Museum, and the exhibition’s co-curator, tells Arab News: “The exhibition reflects on the essence of hospitality, not just as tradition but as a spatial and social practice. It explores how architecture from the MENASA region fosters belonging, dignity, and collective life.”
On the permanent pavilion’s future site stands a newly commissioned structure by Yasmeen Lari, Pakistan’s first female architect and a pioneer of humanitarian design. Her bamboo-and-palm-frond “Community Center,” created using zero-carbon, low-cost techniques, was developed through the Heritage Foundation of Pakistan, which Lari co-founded. The structure exemplifies what she calls Barefoot Social Architecture — a methodology that mobilizes local resources, community labor, and heritage crafts to produce flood- and earthquake-resistant structures, addressing, she has said, “climate and social justice.”
“When I spoke with Yasmeen,” recalls Lemonier, “I realized her work is a direct legacy of (Egyptian architect) Hassan Fathy. Like him, she empowers the poor to build their own futures.”
The exhibition draws a clear line of continuity from Fathy’s radical use of earthen materials and community-led design to Lari’s ‘barefoot architecture’ in Pakistan. “Fathy taught communities to build with mud brick and vernacular layouts; not only to survive but to thrive,” he says. “Lari continues that legacy by using architecture as a tool of empowerment.”
Lemonier’s co-curator Sean Anderson, an associate professor at New York’s Cornell University, says: “For centuries, cities in the MENASA region have been shaped not by individual buildings, but by how people gather, interact, and live together. Today, that wisdom is more relevant than ever, as we witness the planet’s transformations, mirrored by technology’s drive toward a more collective, yet divided, future.”
This spirit is echoed in the main exhibition at Palazzo Franchetti where “Beyti Beytak” becomes an immersive and archival deep dive into MENASA’s architectural richness. Some of the architects featured are being exhibiting in Venice for the first time. The curators’ ambition is to capture the continuity across generations — from pioneers such as India’s Raj Rewal, Abdel-Wahed El-Wakil of Egypt, Pakistan’s Nayyar Ali Dada, and Sri Lanka’s Minnette de Silva to contemporary leaders including Palestinian-Jordanian architect Abeer Seikaly, Bangladesh’s Marina Tabassum, Sumaya Dabbagh of Saudi Arabia, and Palestine’s Dima Srouji.
“‘Beyti Beytak’ is a testament to the architectural heritage and creativity of the Arab world and the Global South,” says Lemonier. “The future Art Mill Museum was conceived as a multidisciplinary institution, one that will embrace this richness not as a regional footnote but as a core narrative.”
The curators have woven together an architectural narrative grounded in civic humanism, tracing three generations of architectural expression through thematic sections that include oases, mosques, museums, housing, and gardens, with a special focus on community centers and urbanism in Doha.
“The selected architects’ work forms a chorus of alternative futures; ones where architecture is not a luxury, but a deeply human practice of care, resilience, and place making,” says Anderson. In fact, one of the pavilion’s central propositions is that, architecturally, traditional knowledge may offer more-resilient solutions to climate change than high-tech design.
“It’s a paradox,” Lemonier admits. “You’d think triple-glazed facades and cutting-edge systems are more advanced — but mud, lime, and bamboo buildings often perform better in extreme climates. What we see with Yasmeen Lari is a reappropriation of vernacular materiality as climate adaptation.”
Throughout the exhibition, the curators draw a sharp line between architectural conceptualism and communal responsibility.
“Architecture is not sculpture,” Lemonier says emphatically. “It is a social and collective act. The architect must think of themselves not as an artist, but as a participant in a living society.”
This ethos is also reflected in the Doha-based segment of the exhibition, where the urbanism of Qatar is framed as humanist and collective. “Doha offers public parks, civic space, and an architecture of sociability,” Lemonier notes. “It’s not only about the buildings, it’s also about the empty spaces that allow a community to gather. It’s not about big gestures. It’s about how architecture allows a community to live, build with care, with humility, and with others in mind. For me, that’s the measure of success in design.”
Anderson adds: “As architects, we hold a responsibility not just to build, but to shape how we gather, connect, and see one another. Architecture isn’t static. It’s one of the most dynamic ways we experience humanity. This exhibition explores how space can be a vessel for empathy — especially in a time when technology often divides us. Yasmeen Lari’s work may be rooted in (Pakistan’s province of) Sindh, but its message transcends borders: it asks us to reflect on what it truly means to design for people.”
By placing Lari’s work in direct dialogue with the legacy of Hassan Fathy and by elevating regional voices too often overlooked, “Beyti Beytak” challenges dominant norms in global architecture. And it offers a compelling argument: Your home is not just yours — it belongs to the community, the climate, and the culture it serves.
For the Arab world and the broader MENASA region, “Beyti Beytak” positions architects as custodians of culture and agents of justice.
“This exhibition is not just about buildings,” says Lemonier. “It is about how we live together, how we welcome one another and how we shape a shared future through design.”
-ENDS-
Marvel’s ‘Avengers: Doomsday’ cast spotted in Bahrain
- Production underway in Bahrain, set for release December 2026
DUBAI: Members of the star-studded “Avengers: Doomsday” cast were recently spotted in Bahrain, where production for the upcoming Marvel film is believed to be underway.
This week, Address Beach Resort held a dinner event attended by several cast members. Among the guests were director Joe Russo and actors Anthony Mackie, Simu Liu, Winston Duke, Letitia Wright, Tenoch Huerta, Hannah John-Kamen, Danny Ramirez, and Alex Livinalli.
“This past weekend, Address Beach Resort Bahrain had the marvellous honour of hosting some of Hollywood’s most iconic stars,” the resort posted on Instagram.
Fans also spotted the cast dining at Sumosan, a Japanese restaurant located within the hotel.
Directed by Joe and Anthony Russo, “Avengers: Doomsday” is set for release on Dec. 18, 2026.
Saudi Arabia’s first dedicated art storage depot launched in Jeddah
JEDDAH: Jeddah’s ATHR Gallery, in partnership with global arts logistics company Hasenkamp, launched The Art Storage by ATHR on May 24.
The Art Storage — billed as Saudi Arabia’s first purpose-built, museum-grade art storage depot — integrates top-class security with exacting environmental control. The storage area is fully insulated and climate-regulated, maintaining a stable temperature of 20-22°C with precisely managed humidity levels. The entire system is also engineered to ensure maximum dust control, climate consistency, and discretion. Towering ceilings accommodate monumental works, while wide, retractable gates allow seamless movement of oversized pieces. To eliminate the risk of damage, all areas are fully insulated against rain and extreme weather conditions, ensuring the protection of artworks to international museum standards.
Rana Alamuddin, director of marketing and communications at ATHR, told Arab News: “ATHR was born out of a desire to fill a gap in the Saudi art scene by providing aspiring and emerging artists with a platform to thrive locally and globally. This new facility is a continuation of that mission, reinforcing Jeddah as the heart of the gallery’s vision.”
She added that the new facility will help reduce a long-standing gap in Saudi’s cultural ecosystem. “This level of preservation means artworks are protected not just for today, but for generations to come,” she said.
Thomas Schneider, CEO of Hasenkamp, told Arab News at the opening: “I feel privileged to be part of the development of the cultural scene in Saudi Arabia. I came here for the first time over 11 years ago and the development is just mind-blowing in every aspect in the architectural and cultural scene. This is a booming country and it’s full of so many wonderful creative people.”
Mohammed Hafiz, CEO of ATHR & co-founder of The Art Storage told Arab News that developing a “complete ecosystem” is essential for the Saudi art sector to grow.
“A critical part of that ecosystem is safe, professional storage — because most artworks spend more time off-view than on display,” he said. “Proper storage ensures the preservation of priceless, irreplaceable pieces when they’re not in public view. It’s a meaningful contribution to the infrastructure of Saudi Arabia’s cultural future.”
