Review: ‘Sharper’ — a slick, cool thriller that offers a sneakily good time
Apple’s new ensemble drama confirms director Benjamin Caron as one to watch
Updated 23 February 2023
Matt Ross
LONDON: “Sharper” begins by defining its title as a person who lives by their wits. Google it, however, and the top result you get is a cheating gambler — which acts as more of an introduction to this Apple+ thriller than the rather self-aggrandizing self-definition the movie opts for.
Directed by Benjamin Caron and boasting a stellar cast, “Sharper” tells the interconnected stories of different characters — from parolee Sandra and mild-mannered bookstore owner Tom, to swindling confidence man Max and his partner-in-crime Madeline. It’s hard to give too much more detail without revealing some of the best storylines, but suffice to say that, once “Sharper” begins to ramp up, it doesn’t slow down, and the movie’s near-two-hour runtime zips past in an enjoyable flash.
That is mainly down to the film’s talented director and razor-sharp writing by Brian Gatewood and Alessandro Tanaka. Caron’s resume includes “The Crown” and “Sherlock” as well as episodes of the brilliant recent Star Wars show “Andor,” and he’s pulled in a cast able to pull off some complex characters. Briana Middleton and Justice Smith are great as Sandra and Tom, but Sebastian Stan and Julianne Moore are next-level good as Max and Madeline. John Lithgow adds even more gravitas with his brief turn as Richard. His seasoned, cynical billionaire exudes hard-earned wisdom and his eyes twinkle as he spars with Stan’s brash young trickster.
The movie unfolds almost in reverse, as each character’s vignette sheds a little more light on the overall story — save for a final twist that brings everything together.
Sure, it’s not quite the big reveal that Caron, Gatewood and Tanaka presumably hoped that it would be, but it’s still a decent reversal, and a neat way to tidy up the film’s loose ends.
“Sharper” is a slick, good-looking movie with a lot going for it. And with a feature-length debut this good, Caron is definitely one worth keeping an eye out for.
Rami Malek: ‘I consider myself fortunate to have shared the screen with these actors’
The first actor of Arab descent to win an Oscar discusses his latest movie ‘The Amateur’
Updated 10 April 2025
Shyama Krishna Kumar
DUBAI: Oscar-winner Rami Malek is expanding his role behind the camera with “The Amateur,” now showing in cinemas across the Middle East. Teaming up with British director James Hawes and an ensemble cast, Malek – as lead star and producer – crafts a modern spy thriller that blends classic genre tension with timely urgency, and a cerebral update.
“I just love to see things from beginning to end all the way through — every element,” Malek tells Arab News. “I hope it’s not a perfectionist aspect, but I’ve always found myself remembering moments on certain cameras, certain lenses on other actors that I would talk to the directors about, or in post-production and wanting to make sure we get the best of the best. I heard about a lot of actors who come into the editing suite, and I thought, ‘How could I do that without having to do it in this kind of sneaky manner?’
“And so (this was) the way to do that. And it was nice to see this develop, to work on the script with Dan Wilson and, of course, the great (producer) Hutch Parker, and James Hawes, and sit down day in and day out and try to make this feel as authentic and unique as possible from beginning to end.”
Malek stars as Charlie Heller, a brilliant but introverted CIA codebreaker whose life is upended when his wife (Rachel Brosnahan) is killed in a terrorist attack in London. When the agency refuses to act, Heller sets off on a dangerous, global pursuit of those responsible — using his intelligence skills to outwit enemies and seek justice on his own terms.
Apart from Malek and Brosnahan, the film also stars Laurence Fishburne, Caitriona Balfe, Jon Bernthal, and Emmy winner Julianne Nicholson, among others.
“I got to galvanize some of my favorite actors — people I’ve always wanted to work with — in this ensemble,” Malek says. “I think everyone recognizes them as people working at the top of their game. Every actor in this film is someone I consider myself fortunate to have shared the screen with. And yeah, I’m very proud of that. It’s quite the feat.”
Rami Malek on set during the shooting of ‘The Amateur.’ (Supplied)
Balfe — the Irish actress and model known for her role as Claire Fraser in the historical drama “Outlander” — plays Inquiline Davies, Heller’s asset, a hacker with whom he communicates via secure messages online.
“Rami is amazing. I have known him socially for many years, but I always wanted to be able to work with him. And so when this project came along, I was so excited to be able to get that opportunity,” said Balfe.
“And he was an incredible producer as well. We had long, long days shooting, and he’s in practically every scene of the movie. And yet he would go home and watch the rushes from the day before, and he’d have his notes when he came in the next day about what was great, or maybe things that were missed, or script changes. It was a lot on his shoulders, but he was brilliant and very generous with his time. And very welcoming and kind to everybody too, which is so important.”
Rami Malek in ‘The Amateur.’ (Supplied)
Balfe also revealed that, despite the time constraints of shooting a movie across multiple countries, “everybody was having so much fun” on set.
“Even though it was a very intense shoot and people were under real time pressure, it was such a lovely group of people to work with,” she says. “That was the best thing.”
British director Hawes is no stranger to the world of espionage drama, having worked on the acclaimed UK spy series “Slow Horses.”
“I’d been able to play in that world,” Hawes says. “Those are the kinds of films I’m drawn to — moody, atmospheric, but rooted in realism.”
While “The Amateur” nods to classic spy thrillers, Hawes aimed to update the genre for today’s world. One major change was relocating key scenes from Prague — “a city more known for beer bikes than Cold War intrigue” — to Istanbul, which he felt offered an urgent, unpredictable energy.
“We wanted it to feel contemporary — not just in the politics, but in the tech, the pacing, the stakes,” he says. “Hopefully, it still carries the soul of those older stories, but in a way that speaks to now.”
Award will celebrate ‘enormous creativity’ of Arab designers says IMA’s Philippe Castro
Updated 10 April 2025
Jean Grogan
PARIS: The Institut du Monde Arabe in Paris has announced the launch of its Arab Fashion Award — the AFA-IMA — to promote and celebrate the rising stars of the Arab world’s fashion scene.
Since its opening in 1980, the IMA has supported Arab creativity in all its forms, including fashion. It has hosted numerous shows and exhibitions highlighting the role fashion plays at the intersection of cultures.
Philippe Castro, chief of staff of the presidency of the IMA, and the man behind the new initiative tells Arab News that “the moment seems ripe” for the launch of the award.
Philippe Castro with Monique Lang, wife of Jack Lang, at an art fair in Paris in 2015. (Getty Images)
“We’re seeing Fashion Weeks popping up in Riyadh, Dubai, Beirut and Marrakesh. We’re seeing enormous creativity in fashion design in the (Arab) region as a whole and there is a growing appetite for these designers. They deserve our attention,” Castro says. “Christian Dior once said, ‘The air of Paris is the very air of haute couture.’ The same can be said today of the air of Riyadh, Beirut, Egypt, Morrocco and Tunisia. All these places have a long tradition of couture. Take Tunisia, for instance; it’s no coincidence that master couturier Azzedine Alaïa came from Tunisia.”
If Paris is the world capital of fashion, that is thanks in no small measure to Castro’s longtime colleague Jack Lang, president of the IMA. As Minister of Culture, it was Lang who saw the potential for fashion to become a booming industry for France. In 1982, he succeeded — in the face of a lot of pearl-clutching — in making the Cour Carrée of the Louvre and the Tuileries Gardens the principle venues of Paris’ runway shows, moving fashion front and center in public consiousness. The number of fashion shows in Paris doubled between 1980 and 1990, after which fashion was definitively established as a sector that means serious business.
“Jack Lang made fashion fashionable.” Castro says. “We’re very lucky to have him as our president. He gave an unprecedented impetus to young fashion designers in the 1980s. Having worked alongside him for many years, as a big advocate of fashion, this award seems natural and inevitable.”
Jack Lang (fifth from right) with several fashion designers including Yves Saint Laurent (center) in Paris in March 1984. (Lm-Pelletier/Archives nationales de Pierrefitte sur Seine)
Castro is a regular visitor to Saudi Arabia, where, he says, he has witnessed “an incredible evolution in fashion” over the past decade, especially in Riyadh and Jeddah.
“There is a tangible effervescence and dynamism visible with people on the streets. On my most recent visit to Riyadh, I visited concept stores selling abayas. I find the reinterpretation of the abaya and the thaub brilliantly creative,” he says. “The designers have limitless imagination; they know how to explore their own culture creatively. I was also fascinated to see superb Saudi-designed streetwear for the first time. I fell for a towelling beach robe with pockets and a hood inspired by traditional Saudi robes — pure creative genius!”
Navigating the international fashion world is a complex challenge for young international designers. Creative talent is not enough, they need experienced professional mentoring. So the IMA is partnering with the world-renowned Institut Français de la Mode (the French Fashion Institute) to help the award winners develop their professional skills in cutting, patternmaking and marketing as part of the prize.
Designer Burc Akyol walks the runway after his womenswear show at Paris Fashion Week at Institut du Monde Arabe on March 11, 2025. (Getty Images)
This first edition of the AFA-IMA is deliberately fluid. Jewellery and accessory designs are also eligible for entry. The award has two categories; Emerging Talent and Innovative Talent, with an option for the jury to grant a third award to an established Arab designer. Other categories may be added as momentum grows.
“It will evolve according to the type of entries we receive and be adapted accordingly,” says Castro. “This is an haute-couture — not ready-to-wear — process.”
The award is open to designers who are nationals of Arab League countries or part of their diasporas. The jury consists of key figures from fashion, art and culture including Pascal Morand, executive president of the Fédération de la Haute Couture et de la Mode; Pascale Mussard, the founder of Hermès’ upcycled luxury brand Petit h; Lebanese fashion designers Rabih Kayrouz and Milia Maroun; Elsa Janssen, director of the Yves Saint Laurent Museum in Paris; and Manuel Arnaut, editor of Vogue Arabia.
“We composed our jury of people at the pinnacle of their profession. We always aim for excellence,” says Castro. “The members will follow the prize-winners’ progress closely. This is not a one-off. It’s a long-term initiative to showcase the region’s enormous creativity.
“We composed the jury of good friends of the IMA — a friendly needle and thread which will make dazzling embroidery. It’s a project that comes from the heart, because fashion is all about emotion. If there is no heart, there is no point,” he continues. “We are living in an era of severity, if we can diffuse some beauty into the world, so much the better for us all.”
REVIEW: Kuwaiti Palestinian author looks at women and disability in a transformative, speculative memoir
Updated 10 April 2025
Sumaiyya Naseem
JEDDAH: Kuwaiti Palestinian writer Shahd Alshammari’s new speculative memoir “Confetti and Ashes” is a bold departure from her previous work “Head Above Water,” which was longlisted for the Barbellion Prize in 2022.
Alshammari’s layered meditation on the disabled body as both a site of loss as well as endurance is propelled forward by sharp observations and a quiet brilliance that had me turning pages well into the night.
Her first memoir, “Head Above Water,” offered an unflinching look at navigating multiple sclerosis as an Arab woman teaching literature in Kuwait. Her latest, however, ventures into a realm where memory and personal narrative intersect with poetry, imagination, and otherworldly presences.
The voices of ghosts and Zari, her qareen — the jinn-companion assigned to each person in Islamic belief — transform Alshammari’s personal narrative. It becomes a dialogue, a captivating dance between the seen and unseen worlds.
This inclusion shakes up the conventional memoir structure to broaden the scope beyond Western frameworks of storytelling. It also offers readers a visceral look at the ways living with disability and chronic illness can disrupt and reshape an individual’s perspective and worldview.
The dreamlike and omniscient voice of the qareen also mirrors the disorientation and internal struggles that come with living with chronic illness and disability.
Alshammari astutely draws parallels between the disabled body and the female body in the social and cultural context of Kuwait. In a world of able-bodied norms, she reflects on their intersecting experiences of marginalization, scrutiny, and resistance.
She rejects predictable storytelling, and not just in her writing, but also in life. Her body rebels, yet she defies societal stigmas — including concerns voiced from other women with MS.
She explores holistic wellness practices and eventually takes up squash, expanding her social circle and pushing her limits to build her mental and physical endurance.
In capturing her dual journeys of illness and wellness, the author invites readers to reflect on the disabled body not as a burden, but as a site of poetic possibility.
In “Confetti and Ashes,” Alshammari presents a profound reclamation of the self and cements herself as a vital voice in reimagining the female disabled experience.
Britain's Queen Camilla celebrates anniversary with Italian pizza and ice cream
Queen Camilla is marking the 20th anniversary of her wedding to King Charles III during a state visit to Italy on Wednesday
Updated 09 April 2025
Reuters
ROME: Italians offered pizza and ice cream to Britain’s Queen Camilla to help celebrate the 20th anniversary of her wedding to King Charles during a state visit to Italy on Wednesday.
Camilla and Charles walked to the renowned Giolitti cafe in central Rome where the queen sampled an ice cream from a paper cup after the king had made a historic speech to the nearby Italian parliament.
Camilla had earlier been presented with a boxed pizza after attending an event at a school in Rome.
More formal dining will be on the agenda on Wednesday evening when Italian President Sergio Mattarella hosts a banquet for the royal couple at the Quirinale Palace.
Charles told parliament that Britain had been heavily influenced by Italian cooking. “I can only hope you will forgive us for occasionally corrupting your wonderful cuisine. We do so with the greatest possible affection,” he said, to loud laughter.
Art Week Riyadh: 3 generations of Saudi abstract art on display
The Saudi Research and Media Group unveiled a compelling collection at the inaugural art festival
Updated 09 April 2025
Nada Alturki
RIYADH: The Saudi Research and Media Group unveiled a compelling collection at the inaugural Art Week Riyadh that traces the evolution of Saudi abstraction.
Titled “Abstract Horizons,” it highlights the pioneering contributions of artists like Mohammed Al-Saleem and Abdulhalim Radwi, whose work helped lay the groundwork for the Kingdom’s contemporary art movement.
Borrowing its name from Mohammed Al-Saleem’s seminal work, the collection takes a unique approach, emphasizing the shifting aesthetic and intellectual currents of the Kingdom through the abstract practices of three generations of Saudi artists. (AN Photo by Nada Alturki)
Borrowing its name from Al-Saleem’s seminal work, the collection takes a unique approach, emphasizing the shifting aesthetic and intellectual currents of the Kingdom through the abstract practices of three generations of Saudi artists.
The exhibition seamlessly flows from the early beginnings with artists born in the 1930s and 1940s, whose work predominantly emerged in the 1990s: Radwi was a foundational figure in Saudi modernism; Al-Saleem, who became notable for establishing the “horizonism” movement, characterized his work with a geometric depiction of the Saudi skyline and desertscape; Taha Al-Seban furthered the desert motif with his unique color compositions.
From there, it can be seen how abstraction has transformed into a crucial language in the cultural scene.
The exhibition seamlessly flows from the early beginnings with artists born in the 1930s and 1940s, whose work predominantly emerged in the 1990s. (AN Photo by Nada Alturki)
The exhibition continues to work from the early 2000s, engaging more with culture, identity and memory. There are artists like Abdulrahman Al-Soliman, also a critic, who infused architectural elements to bridge between heritage and contemporary expression; Abdullah Hamas, who reimagines the Saudi landscape through geometric compositions; Fahad Al-Hajailan, whose abstraction plays with color and movement; Raeda Ashour, one of the first female Saudi abstract artists, who adopts a minimalist yet evocative approach with a chromatic palette and fluid silhouettes.
Then, at the turn of the 21st century, there is the work of artists born in the 1970s. Abstraction is now a conceptual tool.
Rashed Al-Shashai, known for his experimental approach, repurposes everyday materials to construct layered compositions that address the tension between tradition and modernity while, in contrast, Zaman Jassim’s abstraction interplays between the tangible and the elusive.
SRMG’s collection is on display as part of an exhibition titled “Collections in Dialogue,” featuring collected works by the King Abdulaziz Center for World Culture (Ithra) and Hayy Jameel.
