Recipes for success: Chef Ilias Kokoroskos of Dubai’s Mythos restaurant offers advice and a tasty lamb pilafi recipe 

Chef Ilias Kokoroskos is the head chef at Dubai's Mythos, an award-winning Greek eatery. (Supplied)
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Updated 02 March 2023
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Recipes for success: Chef Ilias Kokoroskos of Dubai’s Mythos restaurant offers advice and a tasty lamb pilafi recipe 

DUBAI: In 2010, during the Greek debt crisis, Chef Ilias Kokoroskos was asked a random question after service by his mentor that would forever change his culinary career: Would he want to go to Dubai? The stint was supposed to last for six months, but there was a change in plans and heart. “I ended up being here 13 years,” Kokoroskos tells Arab News.  

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

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Raised between the Greek island of Crete and Athens, the cheerful chef’s passion for cooking began at around 15 years old. He went to cooking school and worked briefly as a chef de partie in Belgium. “I was falling in love with the process of how you treat the food, from taking it from the producer to making the end product,” he says. 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

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In Dubai, he is currently head chef of six restaurants, including Mythos, a popular, award-winning Greek eatery. The venue’s warm and earthy tones, verdant terraces, and traditional chairs, large pots, and flooring (all imported from Greece) transport diners to the Mediterranean country, creating a relaxing and authentic atmosphere.  

“I’m very proud about Greek food in Dubai,” Kokoroskos says. “It kind of restores Greek pride because, back in the day, in other countries, Greek food wasn’t so good. We had a very bad reputation. People thought that Greek food was only gyros, moussaka, and Greek salad — when it’s not only that.”  

Kokoroskos has crafted a diverse menu that presents vegetables, meats, and seafood in a fresh manner, imbued with Greek flavors.  

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

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Apart from the healthy properties of Greek cuisine, what makes it stand out, in the eyes of Kokoroskos, is its simplicity; you can whip up a dish using two to four ingredients. “It’s more difficult to make something good and simple than something complicated,” he says.  

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

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Here, Kokoroskos discusses family food memories, kitchen regrets, and shares his recipe for suckling lamb pilafi. 

Q: What’s your earliest food memory? 

A: The family table, especially in the countryside with my mother, father, sister, grandmother, grandfather… It was a nice feast of food. As for actually cooking food, I remember making something very simple — just pasta with butter. But I wanted it to be perfect.  

When you started out as a professional, what was the most common mistake you made? 

I tried to put a lot of ingredients in a dish — a bit of this, a bit of that, I did this, I did that… It ended up being something that was not actually nice — and not me.  

What one ingredient can instantly improve any dish? 

It’s not an ingredient that you can actually find in the market. It’s consistency and balance.  

What’s your top tip for amateur chefs? 

For amateurs, nothing. Because amateurs are cooking for themselves or families, because they love it. I have the biggest respect for them. For new chefs coming into the industry, I’d tell them what I did: Don’t look for positions, don’t chase the money, don’t grow up very fast. When you’re building something very fast, it’s very easy to fall down. Work hard and focus on the kitchen.  

Are you a disciplinarian in the kitchen? Do you shout a lot? Or are you more laidback? 

For me, a kitchen should be disciplined like an army. Imagine running a kitchen with 20-25 people inside and everybody’s doing whatever they want. It would be chaos. We have fun, when the time is right. I used to shout a lot. (Laughs.) I regret it now, but now I think I’m more fair. 

What customer behavior most annoys you?  

Ahh... What annoys me is when someone says, “I don’t want this ingredient on this dish.” I think that’s the nightmare of any chef. I’ve put effort and love into this dish. There’s a reason why each ingredient is there.  

What’s your favorite dish to cook? 

Anything to do with baking, like bread and pies.  

When you go out to eat, do you find yourself critiquing the food?   

Not really. I like going out and enjoying myself with my friends or my wife. I cannot criticize the food because I do not know what the chef had in his or her mind. I respect what they’re putting on the table. . . I respect that it might have been a bad day. We all have bad days.  

Chef Ilias’ suckling lamb pilafi 

The lamb: 

INGREDIENTS: 1 lamb shoulder, whole with the bone; 3 onions; 2 tomatoes; water; sea salt; olive oil 

INSTRUCTIONS:  

1. Place a pot over high fire and put the lamb shoulder in, cover with water, bring to the boil. 

2. Reduce the heat to medium and clear the scum. Simmer on medium heat for two hours. 

3. Add the whole tomatoes and onions to the pot and boil until the meat falls of the bone. 

4. Remove the lamb from the stock, season with sea salt and olive oil and set aside. 

5. Strain the stock and set aside. 

6. Chop the tomatoes and onions and keep them aside. 

The rice: 

INGREDIENTS: 200g Arborio rice; 1 medium onion, chopped; 500g chicken stock; 200g lamb stock; 130g olive oil; 2 tbsp wild oregano, fresh; 70g kefalograviera cheese 

INSTRUCTIONS:  

1. Add 80g of olive oil and the onion to a shallow pot over medium heat. Sauté until onion is translucent. Add rice and continue to heat until the rice is also lightly translucent. 

2. Slowly add the chicken stock in four stages, while stirring. 

3. Add the lamb stock slowly, in two stage. By that time, the rice should be cooked but still have a slight bite to it – not al dente, but one stage further. 

4. Add the wild oregano, the chopped boiled onion and tomato, the rest of the olive oil, and 50g of kefalograviera cheese. Heat until the rice is creamy. 

5. Place the rice on a plate, top with the lamb and the rest of the cheese. Serve. 

 


Film Review: ‘Mother’s Instinct’, a psychological thriller that keeps you guessing until the end

Updated 19 sec ago
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Film Review: ‘Mother’s Instinct’, a psychological thriller that keeps you guessing until the end

  • Anne Hathaway plays "the perfect mother" in this 2024 psychological thriller in a remake of a French film, which itself was a novel adaptation

Anne Hathaway has played many roles over the course of her career: a surprise princess, an assistant to a fashion magazine editor, a recovering addict, Cat Woman. In “Mother’s Instinct,” she plays a mother — the perfect mother.

In this 2024 psychological thriller — a remake of a French film which itself was a novel adaptation — Hathaway is joined by Jessica Chastain. The two play best friends who are living the American dream.

They are next-door neighbors. Their husbands are the best of friends, as are their eight-year-old sons. They live in an affluent neighborhood in cookie-cutter 1960s’ suburban America. Everything seems idyllic.

The film begins with Celine’s (Hathaway) birthday. Alice (Chastain) and the women’s husbands throw a surprise backyard party. Celine receives a pearl necklace, a joint gift from their family and friends. It’s a wonderful celebration.

But the next day, there’s a tragic death.

One of the young boys falls from a balcony under suspicious circumstances. At the time, he was being supervised by the other mother.

The film forces us to ask: How can a mother live with herself after she entrusted her son’s life to her friend? Could anyone forgive themselves? Could they forgive their friend? 

By mid-film, there are still two mothers — but now one is childless. The one whose son has survived feels guilt. The one who lost her boy feels fury. Both feel grief.

As the story unfolds there are more deaths and we begin to wonder: Did one mother deliberately harm the other’s son? Who is innocent here? Who is evil? Was it an accident or a deliberate act? And who will die next? 

Events become more sinister. Nothing seems perfect anymore. Even the beautiful pearl necklace ends up broken on the floor, the tiny gems rolling around chaotically.

First-time director Benoit Delhomme does a good job of leading our eyes where he wants them to go. The cinematography is beautiful, while the styling and outfits are divine.

This film keeps you guessing until the end. And there is no happy ending; sometimes, the happy ending is that there is one at all.


US animation lights up Saudi Film Festival

Updated 09 May 2024
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US animation lights up Saudi Film Festival

DHAHRAN: Saudi filmmakers of the future were given a masterclass in the latest animation techniques as part of the Saudi Film Festival this week.

The animation workshops were led by experts from the US as part of a collaboration between the festival and the American Chamber of Commerce and US Consulate in Dhahran.

The animation workshops were led by experts from the US as part of a collaboration between the festival and the American Chamber of Commerce and US Consulate in Dhahran. (Supplied)

Todd Albert Nims, one of the pioneers in shaping the Saudi film industry over the past decade, told Arab News that with a population of 36 million, many under 35, Saudi Arabia is ripe with potential in the film sector.

Nims, an American who was born and raised in Dhahran, is now head of the AmCham Arts, Culture and Entertainment Committee, and has been involved in all aspects of Saudi-centered films, from acting to producing.

“I went to the first Saudi Film Festival in 2008 and worked with them on bringing the Saudi Film Festival into Ithra … I was there with them, and I’ve been here within this journey for the last 16 years,” he said.

Nims said that many Saudis grew up watching Disney films, and began their filmmaking efforts creating short content on YouTube.

He said there is huge potential for the Saudi market to grow, adding that he wanted to offer young filmmakers the opportunity to “gain expertise right in their backyard.”

Travis Blaise, who has over three decades of experience in animation, and has worked on Disney classics such as “Beauty and the Beast” and “The Lion King,” was on hand to conduct a five-day workshop.

“I was brought on to bring something new and unique to this Saudi Film Festival, which was bringing storytelling, or visual storytelling, to script,” he told Arab News. 

Together with fellow American William Winkler, Blaise dedicated each day to bringing the overall picture to life, sketching ideas, developing the story structure, and even discuss the backstory of characters.

The goal was for each student to develop their own 30-second script. The workshop began with 11 students, but the figure soon ballooned to 20.

“Every single student was Saudi; most of them were women from several universities, while a couple were already professionals working in the industry,” Blaise said.

“I love the excitement and passion that they (the Saudi students) share because I have shared that same passion for the last 34 years, and the fact that I can bring something of my own experience to someone who is passionate and open-minded and willing to learn about film really is exciting,” he said. 

The experts told Arab News that they are committed to building connections between the US and Saudi film industries, recognizing its potential to inspire, educate, and entertain audiences both domestically and internationally.

“Through filmmaking, we aim to strengthen ties between the US and Saudi Arabia by fostering mutual understanding and creative collaboration,” Alison Dilworth, the US deputy chief of mission, told Arab News.


British Council, Saudi Cinema Association working to ‘drive’ industry growth

Updated 09 May 2024
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British Council, Saudi Cinema Association working to ‘drive’ industry growth

  • Two organizations collaborated for 10th Saudi Film Festival
  • Aim to find emerging talent and foster cultural exchange

DHAHRAN: The partnership between the British Council and the Saudi Cinema Association this week for the 10th edition of the Saudi Film Festival will help boost the industry, showcase emerging talent, and foster cultural exchange, say officials and creatives.

The event at the King Abdulaziz Center for World Culture, or Ithra, in Dhahran, began on May 2 and concludes on Thursday.

For the occasion, Studio Ulster and the SCA offered a training program to empower Saudi Arabia filmmakers with cutting-edge animation skills. The program commenced online and continued during the festival.

As part of the festival’s program, the British Council showcased a curated selection of UK short films, providing a platform for filmmakers to engage with Saudi Arabia audiences and forge meaningful connections.

Furthering this initiative was a series of masterclasses hosted by animation legends from Blue Zoo Productions, who offered insights into the nuances of building a thriving animation industry within the cultural framework of the country.

“We believe in the power of the arts to drive socio-economic development and are committed to fostering long-term partnerships that empower artists and enrich communities,” Amany Abouzeid, regional arts director of British Council MENA, said of the festival’s role in elevating the Kingdom’s Vision 2030 goals.

UK-based film producer Tony Humphreys, who came from London to attend the event, had high hopes for the week.

“I’m a producer and I’m also a consultant over here at the moment in the Saudi Film Festival to help try and link Saudi businesses and Saudi creatives with UK businesses and UK creatives,” Humphreys told Arab News.

The experience exceeded his expectations.

“I’ve met lots of very interesting people; lots of energy, lots of desire to do more and succeed creatively and lots of collaboration potential between our two nations,” he said.

“I’ve seen several of the programs, particularly the short film programs, I think there’s been a really interesting mix across all sorts of storytelling; some more traditional, some quite challenging in terms of themes and content. I think there’s a real vibe and a positive sort of drive of wanting to take the industry further very quickly.”

Ahmed Al-Mulla, who founded the SCA, said: “Our filmmakers were dreamers; they made their films underground and then went outside the country to screen them … Now, things changed in the blink of an eye.”


‘Star Wars: Tales of the Empire’ revisits under-explored characters from the Dark Side

Updated 09 May 2024
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‘Star Wars: Tales of the Empire’ revisits under-explored characters from the Dark Side

  • Focus on characters Morgan Elsbeth and Barriss Offee
  • Second anthology of the ‘Star Wars’ animated shorts

DUBAI: The second anthology of the “Star Wars” animated shorts “Star Wars: Tales of the Empire” — following the 2022 collection “Tales of the Jedi” — offers a look behind the curtain at two powerful but under-explored characters from the franchise, Morgan Elsbeth and Barriss Offee.

The first three episodes of the six-parter go back in time to explore how Nightsister Elsbeth was initially drawn to the Empire. Fans of “Star Wars” will be familiar with the character after her live-action appearances in “The Mandalorian” and “Ahsoka.”

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

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Now, with “Tales of the Empire,” Elsbeth makes her animation debut. Diana Lee Inosanto, who plays Elsbeth in both live-action and animation, said she did not feel there was much difference between the two mediums.

In the recording booth, Inosanto — a trained martial artist and godchild to the late Bruce Lee — moved her body to match the action of the scene.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

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“In my acting approach, I don’t see any difference between being on the set and being in the recording studio, other than the fact that I had to kind of create my own little bubble in being in this space. I still physically do the same preparation and work and the breathing,” said Inosanto in a recent interview with Arab News.

“But yeah, when I first initially read the script for ‘Tales of the Empire,’ I went: ‘Oh my gosh, finally, I understand her,’ because all of those little details were now filled in for me as well. So, I hope the same happens for all the fans. I really think fans are really going to understand now why Morgan was shaped the way she was mentally, why she was wired the way she was, and that she was really coming from a place of being a survivor all her life.”

Meanwhile, the last three episodes of “Tales of the Empire” reveal what becomes of Barriss Offee after Order 66 toward the end of “Star Wars: The Clone Wars” series. A Jedi prodigy, Offee’s character was forever branded a traitor after she turned her back on her kind by bombing the Jedi Temple and framing her friend Ahsoka Tano for it.

Actress Meredith Salenger, who has been waiting for more than a decade to find out what happens to Offee, said to Arab News about her character: “Barriss at the very beginning of ‘Tales of the Empire,’ she is in jail. She has recently been jailed by the Republic. And I think she is particularly conflicted, because she can see what’s happening to the rest of the Jedi. I think she knows when the Jedi Temple explodes and all of these things. She knows it’s gone perhaps too far.”

“And when she’s approached by the Fourth Sister, who is an Inquisitor, it’s sort of like: ‘This is not what I thought my journey would be. I don’t know if I should go along with this. But I also know it’s the only way I’m going to survive.’ There’s a fear that anyone at any time can be killed. I think she’s curious as to what the next step is going to be for her.”


Artist Dalya Moumina: ‘Jeddah is always going to be home to me’ 

Updated 09 May 2024
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Artist Dalya Moumina: ‘Jeddah is always going to be home to me’ 

  • The NYC-based Saudi-Filipina artist discusses growing up in the Kingdom and how her cultural background has influenced her work 

DUBAI: Dalya Moumina is an emerging New York-based artist whose imaginative landscape paintings partially pay tribute to her Arab and Asian heritage. She was born in Washington DC in 1996 to a Saudi-Palestinian father and a Filipina mother. Both were travel lovers, who luckily happened to have met each other on a flight. When Moumina was three years old, her family relocated to Saudi Arabia.  

“Jeddah is always going to be home to me. Whenever I go back, it feels like I never left,” Moumina tells Arab News. “Growing up there was very adventurous. I lived the Jeddah lifestyle, right on the Red Sea, which was the best childhood to be honest. I’d go to the beach almost every weekend and we would do desert trips and hiking. I was also a professional horseback rider. I think the part of Jeddah that most influences me is definitely the water. The Red Sea is, in my opinion, the most beautiful sea out there. It’s so blue.” 

Dalya Moumina in her studio. (Supplied) 

She also has a special connection with the Philippines, which she visited every summer when growing up. “I’d see my mother’s side of the family and my cousins. The people are so kind-hearted. We would go to the islands there, like Boracay and Palawan. They’re absolutely stunning,” she says. “I think I try to bring those influences into my work, especially the tribal communities there. For example, in ceremonies, they’re very into face painting primitive shapes that symbolize different things.”  

Those childhood memories have seeped into the bold utopian landscape imagery that Moumina started creating in 2019.  

“We have volcanoes and beautiful islands in the Philippines. I think growing up around those extreme and contrasting landscapes led me to amalgamate them into my work, because the meandering, like, rivers and labyrinthine terrains there are unlike any other place, in my opinion — contrasting with the desert landscapes in Saudi Arabia,” she explains.

Dalya Moumina's 'Tempestuous Reverie.' (Supplied)

  

Although she doesn’t come from an artistic family, Moumina always found herself making collages, scrapbooking and drawing.  

“I’ve been painting my whole life. I never took it seriously, but I think it was always an innate part of me,” she says. She also had an aunt who drew and she encouraged her niece. During high school, Moumina took art classes and actually sold her first artwork at a school exhibition.  

She later attended the University of Virginia to study business, technology and psychology (along with a few art classes). It was while in Virginia that she discovered the work of American master Georgia O’Keeffe, who famously depicted America’s sweeping mountainous landscapes. 

“She used to teach at my university, and she’s such a big inspiration in my work,” says Moumina. “I would say that our styles are similar, but, obviously, I’m trying to distinguish myself.” 

The artist works on one of her paintings. (Supplied) 

In 2019, Moumina graduated, but a few months later the COVID-19 pandemic hit. She started painting again during lockdowns.  

“I really missed traveling, so I was thinking of the landscapes and the ocean from Saudi and the feeling of being by the beach,” she says. “I’ve always loved using oil paint, because it’s slow-drying and the colors are so rich. It’s very therapeutic and relaxing. Sometimes, I’ll play melodic music, other times I’ll work in silence. Whenever I start painting, I just go into a flow state of mind and work for hours — forgetting to eat. You don’t even realize it.” 

Moumina’s arresting landscapes feel otherworldly, isolated and fantasy-like. At times, a large yellow sun dominates the composition, above wave-like mountains and flowing rivers. Inspired by cubism and surrealism, Moumina executes her paintings in three-dimensions, with sharp contrasts and bold colors.  

“Each piece, I’d say, has a distinctive energy and character,” she says. “I don’t want people to just look at the work, I want them to feel something and walk away thinking about it more, and thinking something new. I try to lure people in through the energizing presence of fresh possibilities. . . I hope people see, through my work, that everything is simply interconnected and interactive.” 

The artist's 'Harmony Rising.' (Suuplied

Along with the vivid colors and energy in Moumina’s work, there is also a sense of somberness. “There’s so much happening in the world,” she says. “I think of my grandmother, who was Palestinian. She was evicted from her home back in the Forties, and I made a painting that was inspired by her. Because I live all the way in New York, it’s kind of hard to keep in touch with what’s happening in the Middle East.” 

Moumina has been living in New York — which she describes as “the art capital of the world” — for two years, and she is represented by GR Gallery. On May 3, a group show, “Transfiguration,” opened at the gallery. The show includes a selection of Moumina’s nature pieces. She says that being an artist in a well-established art scene like New York is competitive, and that she has considered doing a Master’s degree in art, but she realized that she needed something more in order to succeed.  

“What helps you in this industry is networking and not staying in your studio 24/7,” says Moumina, who describes herself as sociable and extroverted. “Half of it is also connecting with other artists and really putting yourself out there.”  

She also believes that being both Saudi and a woman has been an advantage so far in her career. “I think it’s still a male-dominated field,” she says. “But a lot of gallery owners are trying to bring up more female artists, because that’s what’s kind of in demand nowadays.”