Pakistani animated film ‘The Glassworker’ heads to US theaters with Watermelon Pictures

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Updated 17 May 2025
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Pakistani animated film ‘The Glassworker’ heads to US theaters with Watermelon Pictures

  • The Pakistani animated film revolves around two people from disparate backgrounds, a glassblower and a violinist
  • The movie, selected as Pakistan’s submission to the 2025 Academy Awards, took the animation world by storm in 2024

ISLAMABAD: Pakistan’s first hand-drawn animated film “The Glassworker” is set to screen in the United States (US) after Watermelon Pictures acquired its distribution rights, the US-based film production and distribution company said this week.

The Glassworker, released in Pakistan in July last year, was storyboarded by young Pakistani animator, Usman Riaz, who also directed the movie that comprised 1,477 cuts and 2,500 individual drawings, bringing to life the coming-of-age tale of two people from disparate backgrounds: young Vincent who is an apprentice at his father’s glass workshop, and the talented violinist Alliz, the daughter of a military colonel.

Around them, a war threatens to upend their lives and the relationships between the children and parents are tested. A total of 250 people worked on the film including national and international cast and crew.

In a post on Instagram, Watermelon Pictures said they were proud to announce that their very first animated feature, The Glassworker, would soon be coming to US theaters.

“After being selected as Pakistan’s submission to the 2025 Academy Awards, #TheGlassworker took the animation world by storm as Pakistan’s first ever hand-drawn animated feature,” the distribution company said.

“An ode to Hayo Miyazaki’s dedication to telling beautiful stories frame by frame, The Glassworker is truly a work of art.”

The deal was closed during Cannes and negotiated by Hamza Ali for Watermelon Pictures and Hélène Espeisse on behalf of Charades, which is representing the film at this year’s Marché Du Film, US entertainment website DEADLINE reported.

“The Glassworker is a breathtaking, emotional story that will resonate deeply with audiences of all ages. We are honored to bring this cinematic gem to US theaters,” Watermelon Pictures co-founder Hamza Ali was quoted as saying.

Ali launched the film production and distribution company in April, 2024 along with his brother, Badie Ali, with Alana Hadid as creative director. The firm aims to amplify the voices of underrepresented filmmakers across the globe.

“We are thrilled that The Glassworker will be released theatrically in the United States by Watermelon Pictures. Their rapid growth and recent string of successful, meaningful films make them the perfect partner to bring our work to American audiences,” Khizer Riaz, the film’s producer, was quoted as saying.

“We couldn’t be more excited.”


Nancy Ajram lands Times Square billboard

Updated 19 July 2025
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Nancy Ajram lands Times Square billboard

DUBAI: Lebanese superstar Nancy Ajram was featured this week on a Spotify billboard in New York City’s Times Square.

She was named the EQUAL Arabia ambassador for July, coinciding with the release of her new album, “Nancy 11.” EQUAL Arabia is a program that aims to amplify the work of women creators by giving them international recognition.

With a career spanning more than two decades, Ajram is known for hits such as “Ah W Noss,” “Ya Tabtab” and “Badna Nwalee El Jaw.” She has released several chart-topping albums, blending traditional Arabic melodies with modern pop, and has built a wide fan base across the region and internationally.


Elie Saab’s son ties the knot in star-studded Lebanon wedding

Updated 19 July 2025
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Elie Saab’s son ties the knot in star-studded Lebanon wedding

DUBAI: Lebanese designer Elie Saab’s son, Celio Saab, tied the knot this week with Zein Qutami in a lavish, star-studded ceremony in Lebanon.

The Jordanian bride, who is based in Abu Dhabi, wore two custom-made gowns designed by her father-in-law.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by ELIE SAAB (@eliesaabworld)

Her first look was a floor-length, long-sleeved gown featuring a fitted bodice, a full skirt and an extended train. The dress was adorned with intricate silver embroidery and embellishments, paired with a cathedral-length veil and a matching headpiece that echoed the gown’s ornate detailing.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by ELIE SAAB (@eliesaabworld)

For her second look, she donned a champagne-toned gown with a deep V-neckline and vertical metallic embroidery. The design featured a dramatic overskirt and a long, matching veil.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by ELIE SAAB (@eliesaabworld)

The wedding drew a high-profile guest list, with attendees including Nancy Ajram, Nadine Nassib Njeim, Jessica Azar, Karen Wazen, Assi El-Hallani, Balqees Fathi and Hande Ercel.


Saudi Theater and Performing Arts Commission participates in Avignon Festival in France

Updated 19 July 2025
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Saudi Theater and Performing Arts Commission participates in Avignon Festival in France

RIYADH: The Saudi Theater and Performing Arts Commission is taking part in the 79th edition of the prestigious Avignon Festival in France this month. This year’s festival shines a spotlight on the Arabic language, making it a fitting platform for showcasing the richness of Saudi cultural expressions.

The commission’s participation features four traditional performing art forms — Al-Khatwa, Khabiti, Liwa, and the Ardha of Wadi Al-Dawasir — alongside the theatrical production “Tawq.” Through its presence the commission aims to elevate Saudi performing arts while introducing contemporary Saudi theater to international audiences and fostering cultural exchange.

The play “Tawq,” which is directed by Fahad Al-Dossari, boasts a talented cast, including Ahmed Al-Zekrallah, Fatima Al-Jishi, Maryam Hussein, Abdulaziz Al-Zayani, Khaled Al-Huwaidi, and Shahab Al-Shahab. The performance promises to be a highlight of the festival, offering a glimpse into the evolving narrative of Saudi theater.

The play ‘Tawq’ is directed by Fahad Al-Dossari. (Supplied)

Al-Dossari told Arab News: “For me, any theatrical work is an integrated work, meaning that the harmony between all the elements and their quality is what creates this theatrical state, whether at the level of the idea, the directorial vision, the performance, or the scenography. This is what constitutes the strength of the theatrical performance.”

He stressed the significance of participating in the Avignon Festival, describing it as a “window to the world.”

Al-Dossari believes that the language of theater transcends borders, serving as a universal medium for conveying messages, ideas, and cultural narratives, and added: “This is what we seek in this important participation.”

The Star Program has played a vital role in enabling creative individuals in the theater sector to transform their ideas into reality. Al-Dossari noted the diversity of concepts and visions that have emerged, highlighting creativity in all aspects, from decor and costumes to music and acting performances.

He expressed gratitude to the authority for its unwavering commitment to fostering development and creativity within the sector.

As the Saudi Theater and Performing Arts Commission makes a mark at the Avignon Festival, it stands as a testament to the dynamic cultural landscape of Saudi Arabia and its dedication to sharing its artistic heritage with the world.


Huda Beauty supports Palestine with Saint Levant collab

Updated 19 July 2025
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Huda Beauty supports Palestine with Saint Levant collab

DUBAI: Huda Kattan, the US-Iraqi founder of Huda Beauty, this week launched a new collaboration with US-based Palestinian singer Saint Levant to support Palestine.

The partnership introduces a new shade of the brand’s popular Faux Filler Lip Oil, with proceeds going to organizations that support Palestinian agriculture and cultural preservation.

Named “Kalamantina,” the shade references Saint Levant’s song of the same name, released earlier this year. The lip oil also features a clementine scent.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by HUDA BEAUTY (@hudabeauty)

“This is for the homeland,” Kattan wrote on the brand’s Instagram page, alongside orange and Palestinian flag emojis. “In honor of this collaboration, Huda Beauty will make a donation to organizations supporting Palestinian agriculture and cultural preservation.”

Both Kattan and Saint Levant, born Marwan Abdelhamid in Jerusalem, have been hinting at this week’s launch through a series of Instagram posts.

In the clips, they danced to Saint Levant’s track “Kalamantina” and posed together next to a vintage car filled with clementines. In another shot, they held clementines labeled with fruit stickers that read, “Grown by Huda n’ Saint Levant.”

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by HUDA BEAUTY (@hudabeauty)

In the video, the music sensation wore a necklace featuring a map of Palestine, paired with a white tank top and denim jeans.

Meanwhile, Kattan appeared in a white off-the-shoulder lace dress with long, flared sleeves and a fitted silhouette. She completed the look with silver hoop earrings, oversized white sunglasses and a white headscarf, a nostalgic, vintage-inspired ensemble that matched the retro car and clementine-filled set.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by Huda (@huda)

Both Saint Levant and Kattan have been outspoken in their support for Palestine and have used their platforms to raise awareness about the war in Gaza.

Saint Levant, whose mother is French Algerian and father is Palestinian Serbian, performed at the Coachella Valley Music and Arts Festival in California in 2024. During his set, he addressed the war, saying: “Coachella, my name is Saint Levant and I was born in Jerusalem and raised in Gaza … as I hope all of you are aware, the people of Gaza have been undergoing a brutal, brutal genocide. And the people of Palestine have been undergoing a brutal occupation for the past 75 years.”

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by HUDA BEAUTY (@hudabeauty)

Kattan, meanwhile, has regularly shared footage and updates from Gaza on her social media accounts to amplify awareness. In 2023, she announced a $1 million donation to two humanitarian organizations working in the region: Human Appeal and Doctors Without Borders.


Taste of exile: Beloved Afghan street food disappears from Pakistani cities amid deportation drive

Updated 19 July 2025
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Taste of exile: Beloved Afghan street food disappears from Pakistani cities amid deportation drive

  • Vendors, recipes and memories vanish as nearly a million Afghans forced to leave Pakistan
  • In Islamabad and Karachi, Pakistani customers say flavor are fading and so is a shared culture

ISLAMABAD/KARACHI: In a bustling corner of Islamabad’s F-10 Markaz, the scent of sizzling oil and green chili chutney once signaled the presence of Afghan street food.

Today, the aroma is gone and so are the stalls that created it — the hum of grills and laughter and life.

“There used to be a few [Afghan fries stalls] around my neighborhood and then one morning, they just upped and left,” said Hamza Nofil, 28, who used to daily have the crinkle-cut, ridged, and golden chips, always served with the signature green chutney.

“So, you know, it breaks my heart.”

This combination of photos shows two Afghan-run food stalls in Islamabad. (AN Photo)

The heartbreak is shared by many in Pakistan’s urban centers where those fries, and the people who served them, were part of a larger story — of exile, adaptation and community — that is now vanishing as a result of a sweeping deportation drive targeting Afghan nationals.

Since November 2023, Pakistan has expelled nearly one million Afghans as part of a crackdown on undocumented foreigners. The government has also not renewed Proof of Registration (PoR) cards for 1.4 million Afghan refugees, allowing their legal stay to lapse in June 2024.

While the policy has drawn criticism from rights groups and international powers, it is the quieter losses, of flavor, memory, and a sense of belonging, that now echo through city markets and street corners.

Among the casualties are the street food stalls, modest, smoky kitchens on wheels, where generations of Afghan refugees introduced Pakistanis to flavors from across the border: the fries dunked in secret chutney, paratha-wrapped burgers and mounds of Kabuli Pulao rice heaped with raisins, nuts and slow-cooked beef.

Shahid Ali, 22, a Pakistani vendor in F-10, said he remembered when there were six or seven Afghan fries stalls in the area, as well as those selling Afghan burgers wraps packed with shredded chicken or kebab, slathered with sauces and served in paratha.

“You won’t see any Afghans around here because the government sent them back to Afghanistan,” Ali said.

As Afghan families depart, Pakistani vendors have tried to mimic the recipes but something vital has been lost.

“We are missing them [Afghan food stalls],” said Iqra, 29, a banker who only gave her first name. “I will definitely miss them, especially their green chutney. I loved that.”

“A WORLD IS GOING”

In Karachi’s Al-Asif Square, nicknamed “Small Kabul” for its long-settled Afghan community, the losses are not just culinary. They are existential.

“The craftsmen are going, the shopkeepers are leaving,” said Sayed Abdul Wali, a 27-year-old shopkeeper. “A world is going to Afghanistan.”

This combination of photos shows Afghan dresses in Karachi. (AN Photo)

Abdul Kabir, a Pakistani who sells traditional Afghan naan flatbreads, said demand had plummeted.

“Where once three sacks of flour would be used, now we only use one,” he said. “Even the morning batch is still lying here.”

Anthropologist Saeed Husain warned of cultural erasure, saying more than flavor was being lost. He described Afghan food culture as a form of lived knowledge, passed down from generation to generation, evolving with each retelling.

“All these traditions will be lost,” Husain said. “And then we’ll just have copies, really cheap copies… all of that will be lost too now.”

Afghans began arriving in Pakistan in large numbers after the Soviet invasion of 1979, with successive waves fleeing war, drought, and political instability. In urban Pakistan, cities like Karachi and Islamabad, they became traders, laborers, mechanics, and cooks, helping build the very urban fabric from which they are now being erased.

This combination of photos shows populare Afghan Boti (left) and Kabuli Pulao (right) in Karachi. (AN Photo)

“Pakistan is a country founded in 1947 and made by refugees,” said Dr. Sanaa Alimia, author of Refugee Cities: How Afghans Changed Urban Pakistan.

The professor said Afghans were deeply woven into the economic and cultural fabric of urban centers and played a foundational role in shaping the cities of Pakistan, building homes, laying roads, running businesses — and serving food.

“There are many examples, from agricultural production and farming techniques, to mechanics, to doctors… artists, tandoor wallas, and so much more,” Dr. Alimai said.

But she cautioned against reducing the worth of Afghans to their economic value.

“Human and political rights are about protecting and valuing people irrespective of if they contribute to the economy or not.”

Back in Karachi, Mohsin, a local customer, feared not just the loss of food but of taste, tradition, and togetherness.

“If our Afghan brothers leave,” he said, “then perhaps the taste and flavor will leave too.”