Review: Netflix’s ‘North of North’ offers a fresh and authentic look at Inuit life

Review: Netflix’s ‘North of North’ offers a fresh and authentic look at Inuit life
The show is Netflix’s first original Canadian series, co-commissioned by the Canadian Broadcasting Corporation in association with the Aboriginal Peoples Television Network. (Netflix)
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Updated 17 April 2025
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Review: Netflix’s ‘North of North’ offers a fresh and authentic look at Inuit life

Review: Netflix’s ‘North of North’ offers a fresh and authentic look at Inuit life

Netflix’s new “North of North” series offers a fresh and authentic look at Inuit life, blending humor with emotional depth and cultural richness.

It is Netflix’s first original Canadian series, co-commissioned by the Canadian Broadcasting Corporation in association with the Aboriginal Peoples Television Network.

Set in the fictional Arctic town of Ice Cove, Nunavut, the series follows Siaja, a 26-year-old Inuk woman who publicly steps away from her marriage to a clueless husband, choosing to carve out a new space within her community and finding her own path while navigating the complexities of personal reinvention and staying rooted at home. 

While some of the slapstick comedy feels clumsy and redundant, it adds a sense of familiarity that ties together the everyday dynamics of life in a small community. 

The “we don’t need white saviors” theme is both timely and valid, though it leans on a somewhat cliche delivery.

However, the series makes up for this with rich cultural details — indigenous hand tattoos, handmade earrings and authentic Inuit clothing.

The elders speaking in their native tongue as part of everyday life, and Siaja’s responses in English, reflect the reality of balancing multiple identities and languages.

Written by Inuit writers Stacey Aglok MacDonald and Alethea Arnaquq-Baril, “North of North” presents an essential narrative told from an indigenous perspective. Their voices bring nuance and authenticity, ensuring that the series accurately represents the complexities of Inuit life. 

Siaja’s relationship with her young daughter, who is also discovering the world, as well as the adults in her life adds emotional richness to the series.

Anna Lambe’s portrayal of Siaja captures the character’s vulnerability and resilience, making her journey relatable. You feel you could be her friend. 

Overall, “North of North” is a fun series that balances humor with heartfelt moments.

While some elements may feel predictable, it seemingly succeeds in authentically portraying Inuit culture, according to early feedback from the indigenous community. 

The show cleverly explores themes of personal reinvention and community dynamics which are universal, while keeping the culture central to the unfolding story.

It is grounded, relatable and necessary. Definitely binge-worthy. While the characters are constantly surrounding — and occasionally engulfed — by snow, its warmth is felt all around.


Drama therapy workshop in Jeddah explores healing power of expression

Psychologist Lujain Faqerah and actor Abdul Al-Shareef, center, with attendees at the drama therapy workshop in Jeddah.
Psychologist Lujain Faqerah and actor Abdul Al-Shareef, center, with attendees at the drama therapy workshop in Jeddah.
Updated 02 June 2025
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Drama therapy workshop in Jeddah explores healing power of expression

Psychologist Lujain Faqerah and actor Abdul Al-Shareef, center, with attendees at the drama therapy workshop in Jeddah.
  • Faqerah told Arab News: “Drama is integrated naturally in our daily responses and situations

JEDDAH: A drama therapy workshop was recently organized under the theme: “In drama we find the power to express, and in expression we find the power to heal,” at Cinema Al-Balad in Jeddah.

Led by Lujain Faqerah, senior psychologist and creative arts supervisor, in collaboration with actor and screenwriter Abdul Al-Shareef, the workshop explored the use of drama therapy in daily life and creative work.

Participants, including therapists, creatives, and others, learned how drama can support emotional awareness, healing, and connection.

The workshop showed how drama-based therapeutic techniques can help people access unconscious behaviors, foster self-expression, and improve creative practices such as screenwriting and acting.

Faqerah told Arab News: “Drama is integrated naturally in our daily responses and situations. In a therapeutic setting, it helps us observe these interactions and reflect on a deeper level of our unconscious body gestures and movements that might reveal a lot about our personalities.”

She made it clear that drama therapy is not about performing but about expressing what lies beneath — emotions, memories, or internal conflicts.

Faqerah said: “The word drama has a negative connotation to the extent that people reject it before trying. Drama therapy does not depend on acting skills or previous experience, but more on your self-expression and the challenges you experience.”

Her discovery of drama therapy was transformative. “It surprised me with the appearance of a hidden part of me that is more bold and confident. When this part emerged and I saw the benefits myself, I started incorporating it in my profession.”

Al-Shareef brought a creative perspective as an actor and screenwriter new to drama therapy but interested in its techniques.

“As an actor and a writer, I found this experiment with drama supervision and therapy fascinating. It’s a tool that I am willing to explore and learn more about to enhance my life and practice,” he said.

“Some people may think drama therapy is exclusively for artists, but it’s not. The techniques can be integrated into everyday routines, varying from person to person depending on their challenges.”

 


He tries and triumphs: John Achkar’s ‘AAM JARRIB’ scores big in Abu Dhabi

He tries and triumphs: John Achkar’s ‘AAM JARRIB’ scores big in Abu Dhabi
Updated 02 June 2025
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He tries and triumphs: John Achkar’s ‘AAM JARRIB’ scores big in Abu Dhabi

He tries and triumphs: John Achkar’s ‘AAM JARRIB’ scores big in Abu Dhabi

ABU DHABI: Lebanese comedian John Achkar, who is on a world tour, touched down in the UAE capital on Sunday night as part of Abu Dhabi Comedy Season.

Achkar performed his latest special, “AAM JARRIB” (“Trying” in English), before upcoming stops in London, Paris and Sydney on a tour that wraps up in October.

“John has been trying new things for 34 years, and he’s still trying,” his grandmother sang in a video that opened the show.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by John Achkar (@johnachr)

At 34, Achkar claims he does not like trying new things — but as the show unfolds, it is clear he excels at turning the discomfort and quiet fulfillment of those rare efforts into comedy gold.

He paces the stage, piecing together absurd real-life misadventures — a botched sailing trip or an outrageously inappropriate skydiving incident — into hilarious anecdotes.

At one point, Achkar calls out what he jokingly dubs a modern epidemic — ADHD — which he says has become a socially accepted excuse to dodge plans. Fittingly, his performance is a whirlwind of energy: Fast-paced, delightfully chaotic and entirely on brand.

True to form, Achkar’s commentary on Lebanon is bold but affectionate. He jokes that almost every restaurant blasts the internet-famous patriotic anthem “Lebanon Will Return,” even as the country teeters on the edge of war. The satire is sharp, never cynical.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by John Achkar (@johnachr)

Behind him, a detailed sketch of the Lebanese coastline hangs throughout the performance — a quiet yet unmistakable tribute to his identity.

The show ended on the perfect note as the same anthem he mocked earlier blasted through the speakers, with the crowd bursting into applause and laughter — a full-circle moment.

In “AAM JARRIB,” John Achkar does not just try — he soars. And the audience, just as energized as he is, soars with him.


Gigi Hadid marks launch of Havaianas line with new campaign

Gigi Hadid marks launch of Havaianas line with new campaign
Updated 01 June 2025
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Gigi Hadid marks launch of Havaianas line with new campaign

Gigi Hadid marks launch of Havaianas line with new campaign

DUBAI: US Palestinian Dutch supermodel Gigi Hadid has unveiled a new campaign with Brazilian footwear brand Havaianas.

The model, who launched a line with the flip flop label, stars in a vintage-inspired series of photographs. In the shots, she shows off slippers from her collection with the brand and is seen wearing retro outfits on a beach.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by Havaianas (@havaianas)

Hadid celebrated the launch at a party in Altro Paradiso in New York last week.  At the event, she wore flip flops paired with a white tweed Marc Jacobs minidress, featuring vibrant scattered crystals.

The model is no stranger to making creative decisions and is also the founder of her own cashmere brand, Guest in Residence.

She launched her clothing label, which features soft, colorful knitwear, in September 2022.

“Over the last handful of years, I didn’t want to be backed into starting my own line just because there was an offer on the table or a deal to be made,” she wrote to her followers on Instagram at the time.

“The earliest days of Guest in Residence came about when I started to question the cashmere market, and those answers gave me a path,” she wrote.

“I believe that because of its sustainable qualities — natural and made to cherish and to pass down — cashmere is a luxury that should be more accessible.”

Earlier this year, Hadid celebrated her birthday party at Le Chalet in New York City.

Hadid entered the venue with her partner, Oscar nominee Bradley Cooper on April 25, and met up with her sister Bella Hadid, mother Yolanda Hadid, father Mohamed Hadid, Russian media personality Keni Silva and US actress Anne Hathaway, among others.

Gigi’s birthday was on April 23, and the internet was abuzz with celebrities, designers, family and friends who sent birthday wishes to the supermodel as she turned 30.

 


Nayla Al-Khaja reflects on new film ‘BAAB’ and Canon collaboration

Nayla Al-Khaja reflects on new film ‘BAAB’ and Canon collaboration
Updated 01 June 2025
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Nayla Al-Khaja reflects on new film ‘BAAB’ and Canon collaboration

Nayla Al-Khaja reflects on new film ‘BAAB’ and Canon collaboration
  • The director a is frequent guest at the Cannes Film Festival and partnered with Oscar winning Indian musical composer and record producer A. R. Rahman on the score for her latest film
  • Her previous feature “Three” played at Saudi Arabia’s Red Sea International Film Festival and the Shanghai International Film Festival

DUBAI: UAE filmmaker Nayla Al-Khaja, a pioneering voice in Emirati cinema, has wrapped production on her second feature film, “BAAB,” and is also taking part in a renewed partnership with Canon Middle East as part of the brand’s “See No Limits” campaign.

In a conversation following the film’s completion, Al-Khaja told Arab News “BAAB,” set for release after the summer, marks a creative milestone in her career. 

“It really feels like I found a language I enjoy in filmmaking,  like my own artistic voice,” she said, highlighting its striking visual style and deeply immersive atmosphere. Compared to her debut feature “Three,” she described “BAAB” as a significant evolution in her storytelling and visual approach.

“Haunted by a mysterious rhythm after her twin sister's death, Wahida's journey to find answers pulls her deep into the mountains. As she unravels her grief, she descends into madness, blurring the line between reality and imagination,” the logline of the film reads.

Her previous feature “Three” played at Saudi Arabia’s Red Sea International Film Festival and the Shanghai International Film Festival. She is also a frequent guest at the Cannes Film Festival and partnered with Oscar winning Indian musical composer and record producer A. R. Rahman on the score for her latest film.

Al-Khaja continues to work in psychological horror, drawn to its emotional impact and the technical challenge of filming in low light. “You feel like you are pulled like a magnet, pulled into a very ethereal, very haunting world… it is just so visually beautiful,” she said.

The director is also working with Japanese corporation Canon on educational initiatives aimed at emerging filmmakers. 

As part of the “See No Limits” campaign, she led a workshop for film students, emphasizing both the technical strengths of Canon’s EOS R5 Mark II and the importance of narrative-driven visual decisions. “Although you have the camera, if you don’t know how to position it in sense of what your story is trying to say… how far can you push your own limit?” she said.

Al-Khaja’s collaboration with Canon began in 2011. Their latest campaign focuses on empowering female filmmakers across the region. 

While she notes there are still only a handful of women working full-time in the UAE film industry, she sees growing momentum driven by regional grants, commissions and the demand for streaming content.

“When I started, I didn’t have a role model,” she said. “It is good to know that you now have an older generation that you can reach out to.” 


Review: ‘Doom: The Dark Ages’ sets new bar for first-person carnage

Review: ‘Doom: The Dark Ages’ sets new bar for first-person carnage
Updated 31 May 2025
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Review: ‘Doom: The Dark Ages’ sets new bar for first-person carnage

Review: ‘Doom: The Dark Ages’ sets new bar for first-person carnage

LONDON: The first “Doom” game back in 1993 helped define the first-person shooter genre, spawning numerous sequels and even a Hollywood film. Now it is back, and in a crowded market packed with chaotic shooters and arena brawlers, this game slices its way into the pantheon with style — and a spinning shield saw.

Boasting 22 adrenaline-soaked levels, “Doom: The Dark Ages” sticks to the classic formula of annihilating every enemy in the room before moving on. Yet it rarely pauses for breath, charging through its campaign. While there are secrets to uncover and collectible toys to find, it always feels hurried, pushing players forward with breakneck urgency.

Where it stands out is in its innovative combat tools — a shield saw that doubles as a melee weapon, a flail for crowd control, and a shield charge that turns defense into offense. Combat is fast, demanding, and utterly satisfying, especially in boss fights where success hinges on timing and picking the right attack for the enemy.

The gunplay is awesomely brutal and weapons evolve through Sentinel Shrines, letting players fine-tune their arsenal to match the rising difficulty. This isn't just a shooter; it’s a metal-fueled ballet of aggression, where being passive is punished and staying alive means staying angry.

The music? Pure heavy metal fury, matching the gameplay beat for beat. Visuals run at a crisp 60 frames per second and every environment drips with cosmic dread, from crumbling hellscapes to star-forged citadels. The new cosmic realm adds visual diversity, while massive set-pieces like dragon-riding with autocannons and piloting giant sentinels crank the spectacle to 11.

This is bone-crunching mayhem at its finest. It’s Halo-esque in scope, “Doom”-like in execution, but ultimately a beast of its own making.