How the Reel Palestine film festival is changing the global narrative on Palestinians
British-Palestinian director Farah Nabulsi screened her movie "The Teacher" which premiered at the 2023 Toronto film festival
The 2024 edition of the festival includes films centered around global solidarity with the Palestinian cause
Updated 01 February 2024
Dalal Awienat
DUBAI: For some, going to the cinema is just a weekend activity, but for the organizers behind indie film festival Reel Palestine, cinema is all about mirroring society and sparking conversations in the local community.
Reel Palestine returned for its 10th edition as part of Dubai's AlQuoz Arts Festival which kicked off on Jan. 26 and will run until Feb. 4.
Arab News sat down with the director of the film festival, Khalid Al-Sabi, who described Reel Palestine as “inspiring.”
“Real Palestine started ten years ago by a group of volunteers who wanted to create a space for Palestinian voices. It started off as a grassroots project, small team, small audience, and grew to become one of the biggest Palestinian film festivals in the region,” said Al-Sabi.
The Reel Palestine lineup screens at Cinema Akil, which is in Dubai’s artsy Al-Quoz district.
Reel Palestine returned for its 10th edition as part of Dubai's AlQuoz Arts Festival which kicked off on Jan. 27 and will run until Feb. 4. (Supplied)
The film house was launched by Butheina Kazim in 2014 and is now the only independent cinema house in the GCC.
“We always try to bring the latest Palestinian films that have been produced. Sometimes we don't find a big selection of films just because of production cycles in Palestine, but we always integrate programming that is in response to certain things that are happening,” explained Al-Sabi.
The 2024 edition of the festival includes films centered around global solidarity with the Palestinian cause.
“One of the films featured this year is R21 AKA Restoring Solidarity, by Mohanad Yacubi, and it talks about solidarity of the Japanese people with the Palestinian cause,” said Al-Sabi.
R21 AKA Restoring Solidarity tells the story of an undelivered letter written by a Japanese activist that was lost on its way and found by a Palestinian filmmaker after 30 years. (Supplied)
Al-Sabi highlighted the role cinema has in mirroring society and current events.
“Our type of cinema is always a response to certain issues and topics that are happening. Whether it's social issues, gender issues and other things that are happening around the world, our films touch the human mind and evoke emotions. This is the type of cinema that we do,” he explained.
This year’s festival is taking place as conflict rages on in Gaza. Ongoing Israeli military operations in Gaza have seen 27,000 Palestinians killed. Israel’s air and ground operation in Gaza began after a Oct. 7 attack by Hamas that saw 1,200 Israelis killed and more than 200 taken captive, held in return for Palestinians held in Israeli prisons.
In light of this, the festival’s 2024 slogan is: “For the people of Gaza, for the people of Palestine, for the soul of our souls.”
“This year we changed our program in response to the attack on Gaza by screening films that humanize Palestinians, specifically Gazans after a smear campaign was launched against them dehumanizing Gazans by calling them human animals and saying they're not worthy of living. We try to take Palestinians out of the victim narrative that they are usually put in,” said Al-Sabi.
Among those films was “Gaza Surf Club,” a story about a local surf club team.
“This film shows the human part that a lot of people don't see. A lot of people only see bombings and dead bodies. They see that side of Gaza only. But the biggest side of Gaza and the real side of Gaza is not shown,” he said.
Al-Sabi said this year has been the biggest turn out for the festival yet.
“There's more interest now in learning about Palestine through film and being in touch with the Palestinian narrative from a different lens other than through a news channel. Cinema touches people's minds, feelings and hearts. We aim to provoke and start conversations rather than telling a story in a straightforward manner,” he added.
Al-Sabi welcomed young Palestinian talent and said Reel Palestine is a platform for them to share their stories with the world.
“The path is there, the community is here, pursue your dream, Palestinians are known to defy all odds and you certainly have the support to back you up,” he said.
Saudi contemporary artist Sultan bin Fahad discusses his favorite works
‘My medium is storytelling,’ says Sultan bin Fahad
Updated 05 September 2024
Adam Grundey
DUBAI: The Riyadh-born, New York-based contemporary artist Sultan bin Fahad has been creating artworks since childhood. But, he says, he didn’t know that’s what he was doing for a long time.
“I always felt like I had a certain creativity in me,” he tells Arab News. “I was making what I called ‘things.’ But it was a hobby, you know? I thought it was like interior design — decorating my room. I didn’t know it could be considered art.”
At the time, bin Fahad was focused on building a career in the navy and on taekwondo. He had realistic hopes of competing in the 1992 Olympics in Barcelona, he says. But a series of injuries put paid to both of those dreams, and left him wondering what to do next.
He ended up studying business in San Francisco, where his accommodation was close to an art academy.
(Supplied)
“I’d pass by and see their work; that was the first time I was exposed to modern and contemporary art. And I realized, ‘Oh. So whatever I’ve been doing is probably considered some sort of art.’” He laughs. “That’s how I became aware of my ability to create artworks.”
He has become known particularly for his intricate and colorful beaded works, often created by artisans from the Hausa tribe in Nigeria.
“They have an interesting story,” he says. “They are Muslims, they study the Qur’an. But they kept the language of their tribe. They know all about Saudi. You can actually find descendants of the same tribe in Jeddah and Makkah. Back in the day, they travelled or went for Hajj and they never left. They stayed there for three or four generations.”
Beyond the physical side of his work, however, he says the most important thing is that each piece tells a story.
“I always say my medium is storytelling. I hate it when you show someone something and they say, ‘OK, what am I looking at?’ That means you definitely failed to show any emotion in your work. Like, I still make abstract paintings, and there is basically nothing to say about them. But people forget that there is an emotion when you look at something: you might feel happy, you might feel sad, you might be attracted to the colors. But if you look at any piece and you don’t get any idea in the first 10 seconds, then I failed.”
Here, bin Fahad talks us through some of his most significant works.
‘Delights III’
This series, “Delights,” came about during COVID lockdowns. I collect a lot of found objects, because they inspire me. I’d found these small gift boxes that used to have candy or nuts in. They come with different phrases on them, like, “May your day be filled with happiness and joy.” And there’s always a picture of shaking hands. The handshake is a universal gesture. And during COVID, we didn’t have that. People didn’t shake hands. Some people didn’t even see anyone. It was a dark time. So I thought, “OK, what if we had something in people’s homes, to give joy and a little hope?” First of all, I did a series of beaded works, and they were shown in an online art fair. Then this friend of mine who is a carpet maker had the idea of making carpets designed by artists from the GCC. And they chose me to represent Saudi. So, I designed this carpet. It’s this whole concept of hopeful, beautiful work that you can see every day and can give you good energy. It’s not an artwork; it’s part of the house. It’s living with you.
‘Desert Kite’
This was created for Desert X AlUla. AlUla is so beautiful. You can’t compete with it. So I wanted something that would basically separate you from the environment; something with walls, so you don’t know what’s around you and you can basically listen to the environment — to silence.
I have this fascination with history and heritage. There are these very interesting structures around the north west of Saudi and the south of Jordan: desert kites. The first time they discovered them was, I think, during World War Two. They were flying over them. You only can see them from above. And I wondered what their purpose was. Some people say that they’re prehistoric animal traps from thousands of years ago, so my intention was to create something telling that story, so that little blue-green object inside? That’s like the bait — food or water. That makes the animal go inside. Then they’re trapped. And inside the sculpture (on the walls) are a lot of mythical animals: the Medusa, the eagle, the Sphinx — and they’re all trapped in there too. And inside you can sit and actually listen to silence, which is very unusual in a place that is open like that. It’s very interesting.
One thing I really liked with this work was people’s interpretation of it. A lot of people said it looked like a keyhole — so it was the key to another culture or civilization; or it was the key between the sky and the Earth. I liked how people became their own curator. I’m happy to have people interpret my work the way they see it — as long as they get something out of it.
‘Window’
This was for my project “The Red Palace.” It’s one of my dearest projects. It made me comfortable with what I’m doing. This was my first real installation work, and my first time really doing something conceptual — almost like theater. And it was my first project with the Hausa artisans. And it’s dear to me because it’s a building I was really inspired by — I always used to walk past it as a kid and I always loved it. It defined architecture in Riyadh and it’s central to the history of Saudi Arabia, whether as a royal palace or as a government building. Everything from the Forties or Fifties to the Nineties was run from that palace.
The whole idea started with Diriyah Season. They wanted to do an exhibition, and I had this idea of doing a performance called “The Royal Dinner.” During that time, King Saud had three chefs, and they’d have a set menu. People think that, in Saudi Arabia at that time, it was all Bedouin. But no, we had sophistication. But nobody talks about it, and it’s not in in books. So I wanted to recreate this royal banquet to celebrate those behind the scenes; the labor that people don’t know about. I submitted this idea to the Ministry of Culture, and they approved it. So then I went and visited the palace, and I was like, “OK, this is much bigger than my idea, why don’t we expand it?” So we did a lot more, including “Window,” which has actually now been acquired by the Guggenheim Abu Dhabi. It’s another dear work to me, because each window was reclaimed from a region of the Kingdom. And it’s backlit, so it shows you how beautiful it would feel to be in those houses with those windows. And it unifies all the regions into one. Like a lot of my work, it’s also nostalgic. When you see those windows, you think back: “Oh, I remember the time when we were kids and playing here and there.”
‘Trust’
These chairs were thrones for my “Red Palace” project. When I was looking into doing some beaded work — I wanted to do something in Africa, generally — I didn’t know how to get a contact. I saw I had an Instagram follower from Nigeria. I had no idea who she was. I just DM’d her, and asked if she knew anyone who could make beading work in Nigeria. She said she didn’t, but she could look into it. And she found someone. I showed them what I wanted to do — this was for “The Red Palace” — and while I was doing that, she messaged me and said: ‘Can I ask you a question? Why did you trust me to do this?’ I said, ‘Well, if you want something done, you have to trust someone.” Otherwise I’d have to have travelled myself, you know? When I told the curator this story, she said, “We have to call that piece ‘Trust.’” Because that’s what it was based on. This collaborative work we did, with workmanship like this, they don’t know how to create something new; they just work on what they know — they bead chairs traditionally. I needed to see if they could do it the way I wanted it to be. But that first collaboration led to a lot of other pieces, because they were open to the idea of doing it in a different form. That’s where the trust came from.
‘Masallaci’
This work is very dear to me. It’s a giving-back-to-the-community work. It’s a beautiful story. During the time when I was doing “The Red Palace” and “Trust,” the Hausa people that were working with me, they work in a village next to Abuja in Nigeria. When they have work, they travel there from their villages and they rent part of the place they’re working in for accommodation. I asked them where they prayed. It kind of made me feel like responsible, like I needed to support the community that was working for me. So, I asked them to decorate part of the place they were working in as a mosque — in their own way, their own traditions, their own language; the writing you see is the Hausa language, not Arabic — in exchange for me renting the space for them, to pray and live and work, for a whole year. Everything inside the mosque is beaded, except the floor. Even the furniture. And they sent a turban for me — you can see it in the picture, a little white turban. The imam of the mosque in Nigeria wears this turban, so this was their gift for me. It’s one of my favorite works. And it was really a collaboration; they designed it themselves, I just gave them the idea.
‘Laser’
This project was called “GWPOW” — which stands for Gulf War Prisoners of War. It’s about the Gulf War, but it’s also relevant to what’s happening now in Gaza. It’s about how life is stolen from kids who become soldiers when they’re supposed to be playing and living. They don’t take the decision, somebody else does.
I was 19 during the first Gulf War. I wanted to volunteer but I couldn’t, because of my injuries — I’d just had my second knee surgery. So I ended up volunteering as a translator. I went and saw the prisoners of war. Some of them were younger than me. They were, like, 16. They didn’t know what they were fighting for. They were just pushed into the war.
So this project was about the war, but it’s also thinking about those kids. They were supposed to be playing, not fighting. So I was thinking, ‘How can I portray those kids living during that time, in the desert, waiting to fight or to be killed?’ So this project became, like, a playroom for grownups. A recreation center in a war zone — everything is kind of childish. This is one of maybe six paintings I did as part of it, along with beaded works. It’s a pencil drawing, but there’s some collage on it, and some abstract painting, and some ink, so it’s mixed media. So the guy holding the lightsaber, that helmet looks like Darth Vader, but it’s not. It’s the helmet of Saddam Hussein’s Fedayeen corps. And I imagined these kids thinking of being a superhero.
‘Possession’
I saw these people at the Prophet’s Mosque in Madinah. At certain times they open it for women, and they allow people to go privately. I was there with my mom and my family and there were screens, and there were these ladies touching the screens. And to me, it felt like, for them, they were in the highest stage of being possessed by religion, in a good way. Feeling invulnerable. They felt like they are connecting with the Prophet. I mean, I don’t know what it meant to them. I don’t know why they were doing it, but it felt so passionate. And it touched me. I felt like, if it gives them satisfaction, let them do it. It felt surreal to me — but I felt their passion.
‘Once Was A Ruler’
This is a combination of different antiquities that were in the National Museum. I was working there at the time. I wanted to talk about something that is taboo. A lot of people think that these pieces are statues of gods. That’s why they’re hidden away. But at that time, these civilizations were not making big sculptures of their gods, they were making them of themselves. They were a sign of power. So I made it look like an X-ray, and I put human bones on it to show that they are human. They were once a ruler, yes, but a person, not a god.
‘R III’
“R III” means Ramses the Third. I did this in Egypt, at the Pyramids of Giza. Like with AlUla, this is a place I am in awe of. Like, I can’t compete with nature or with history, so I tried to work with it, complementing the place without actually trying to put my force or my creative energy in it. I was humbled in these places. So, I can’t compete with the Pyramids, but I tried to make something inspired by them. When you look at it from above, you see it has the seal of Ramses the Third. That seal has been found near AlUla, and that means he was probably there — not for fighting, but probably exploring, looking for copper or something — because the pharaohs wouldn’t usually let their seals be carried by others. So I wanted to show this bridge between Ancient Egypt and Saudi Arabia.
Kawthar Alhoraish: ‘I feel a deep sense of pride as a Saudi designer’
The Kaf by Kaf founder is a finalist in this year’s FTA Awards
Updated 05 September 2024
Hams Saleh
DUBAI: Kawthar Alhoraish, founder of Kaf by Kaf, has established herself as a prominent figure in Saudi Arabia’s burgeoning fashion scene. Her recent nomination as a finalist for the Ready-to-Wear Award at the 2024 Fashion Trust Arabia Awards is a testament to her growing influence — placing her in a select group of designers from across the region, each vying for one of the most prestigious accolades in Middle Eastern fashion — and reflecting her dedication to her craft and her commitment to showcasing Saudi culture on the international stage.
“It’s a dream come true to be recognized alongside such talented designers from the region. I am deeply grateful for the support and encouragement I have received from my team, family, and the fashion community,” Alhoraish tells Arab News. “As a Saudi designer, I feel a deep sense of pride and responsibility to showcase the beauty and diversity of our culture through my work. I hope to inspire other Saudi designers and encourage them to pursue their dreams in the world of fashion.”
Her FTA nomination, Alhoraish knows, will give her a platform on which to showcase her work to a broader audience, attract new customers and engage with potential retailers and investors. “This recognition can open up new doors and opportunities for my business,” she said.
There’s also the small matter of financial grants ranging from $100,000 to $200,000 for the winners, depending on the size of their business, plus another $50,000 for the recipient of the Franca Sozzani Debut Talent Award. Collections from the winners in the Evening Wear, Ready-to-Wear, Accessories, and Jewelry categories will also be showcased by the FTA’s retail partner, Harrods, for one season, providing invaluable exposure on a global stage.
“The impact of having my collection showcased at Harrods would be immense for Kaf by Kaf. It would elevate the brand’s prestige and credibility on the global stage,” Alhoraish says. “The association with such a prestigious department store would lend a sense of luxury and exclusivity to the brand, further solidifying its position as a leading name in Saudi fashion.”
The winner of the Ready-to-Wear category, for which Alhoraish is a finalist, will also receive an internship in London with Huntsman and create a capsule collection to be sold on the retailer’s e-commerce platform. Furthermore, luxury ethical fashion retail platform Maison De Mode will provide a tailored mentorship to all seven winners, focusing on the importance of sustainability and ethical fashion practices.
Alhoraish has already made plans for the financial grant if she wins, including investing in expanding her business — which she founded in 2019 — across the Middle East and North Africa region and into global markets.
“I would invest in new equipment and machinery to increase production capacity and meet growing demands. I would also use the funds to explore new product categories, such as accessories or home goods, while staying true to the brand’s aesthetic.” she explains.
Alhoraish’s designs — which employ intricate textiles, vibrant colors, and traditional craftsmanship — are influenced by her Saudi heritage, which she blends with modern touches.
“For example, I might use traditional embroidery techniques on contemporary silhouettes or incorporate traditional patterns into a more minimalist design,” she says. “I also believe in the power of storytelling, and I often draw inspiration from historical events or cultural narratives to create designs that have a deeper meaning.”
Regardless of the outcome of the FTA Awards, Alhoraish has ambitious plans for Kaf by Kaf.
“Within Saudi Arabia, I aim to establish the brand as a leading luxury fashion label, renowned for its quality, craftsmanship and cultural significance,” she says. “I envision Kaf by Kaf becoming a household name, synonymous with elegance and sophistication.”
Film exploring culinary heritage of Saudi Arabia’s Asir region wins award
Collaboration between Saudi Arabia’s national tourism brand “Saudi, Welcome to Arabia” and CNBC, the film explores the gastronomic heritage of the Asir region
Film follows first time visitors to Saudi — US travel influencer Mac Candee and his fiance, Mabelle Chedid, as they discover the hospitality of the Asiri people
Updated 05 September 2024
Arab News
RIYADH: A film exploring the culinary heritage of Saudi Arabia’s Asir region has won an international award.
“Adventures in Saudi: Taste of Aseer” won the “Culinary Journeys” category at the International Institute of Gastronomy, Culture, Arts and Tourism International Food Film Menu 2024 awards.
A collaboration between Saudi Arabia’s national tourism brand “Saudi, Welcome to Arabia” and broadcaster CNBC, the film explores the gastronomic heritage of the Asir region and highlights the diversity of the Kingdom’s landscapes and culture. With a strong farm-to-table ethos ingrained in its culture, Asir is known for its cuisine, with traditional methods still in use today.
The film follows first time visitors to Saudi — US travel influencer Mac Candee and his fiance, Mabelle Chedid, as they discover the hospitality of the Asiri people and the connections between its land and flavors. The film captures the couple hiking through the mist-swirled mountain valleys of Soudah, exploring centuries-old cooking techniques and tasting dishes passed down through generations while visiting a traditional majlis.
The award highlights the Kingdom’s growing reputation as a destination offering authentic cultural experiences and natural beauty. The Saudi Tourism Authority has been at the forefront of these efforts, using international platforms to showcase stories that highlight the Kingdom’s diverse regions. Asir was named the World Region of Gastronomy 2024 by IGCAT — the first destination outside Europe to earn the accolade.
The organization’s Food Film Menu project aims to raise awareness about the importance of cultural uniqueness as a step toward averting climate change, placing a spotlight on regions from across the globe and their food heritage. The winning entries were selected by an expert jury, and will be published on IGCAT’s website and social media channels.
The Kingdom is easing travel requirements through the eVisa program. Visitors from 66 countries can now quickly obtain visas online, with special provisions for GCC residents, UK, US, or Schengen visa holders, and residents of the UK, US, or EU.
Saudi artist Raghad Al-Ahmad infuses Kingdom’s landscape and identity into new Adidas collection
Designer’s ‘Bloom Sky’ collection also includes abayas and hijabs
Inspired by poem written by Makkah Gov. Prince Khaled Al-Faisal
Updated 04 September 2024
Shyama Krishna Kumar
DUBAI: For Saudi Arabian artist Raghad Al-Ahmad, the chance to incorporate her roots and identity into the fabric of the famed apparel company Adidas was a dream come true.
The collection — called “Bloom Sky” — features the usual crop of functional unisex pieces including pants, shorts, sweaters, jackets, hoodies and t-shirts.
Jeddah-born multidisciplinary artist Raghad Al-Ahmad designed the newest collection from Adidas. (Supplied)
In addition, it has women’s modest-wear pieces including abayas and hijabs, all with a distinct Al-Ahmad touch.
“I believe we need to respect and integrate cultural elements into our collection. By including modest wear, we can connect with individuals who value this aspect of their culture, creating a complete experience,” said Al-Ahmad during a recent interview with Arab News.
“As a designer who wears abayas daily and strives to be modest through layering and matching, I understand the importance of these elements. Adding them to our collection will have a significant impact, allowing us to craft something that truly resonates with the culture we are embracing.”
The name of the collection is inspired by a poem by Makkah Gov. Prince Khaled Al-Faisal, who is renowned for his verse. The first sentence of the Arabic poem translates to: “The sky is pink and my desert is blooming.”
“As an Arab, I have grown up in a culture where poetry is a significant form of expression. I remember my grandmother always reading poems she had written, and my mother, who loved collecting poetry books.
She added that members of the royal family write poems, which are sometimes turned into songs. “I am particularly inspired by King Khaled’s poetry and his vivid descriptions of the natural world around him,” said Al-Ahmad.
The collection features women’s modest-wear pieces including abayas and hijabs. (Supplied)
The collection, which depicts iconography symbolizing flowers and stars, is an ode to all things Saudi and Al-Ahmad took inspiration from her everyday surroundings.
“My dad, an adventurer, retired from flight maintenance and began exploring Saudi Arabia in his motorhome. He opened a gateway to the country’s wonderful nature, camping amid the desert’s beauty.
“He introduced me to the captivating Saudi lavender flowers, showing his happiness surrounded by them in the desert. We found inspiration in the contrast between the sand’s color and the vibrant lavender,” said the Jeddah-born artist.
For example, in 2021, Al-Ahmad collaborated with luxury French label Jean Paul Gaultier to create playing cards that represent and celebrate the Kingdom’s culture on the occasion of Saudi National Day.
The “Bloom Sky” collection is part of Adidas’ efforts to collaborate and spotlight artists from the region. And also highlight their commitment to modesty and responsible consumption, whilst celebrating diversity and inclusivity.
“I was amazed by the Adidas team’s curiosity and their ability to adopt my culture in many ways, translating it into a product that everyone appreciates.
“The team paid attention to every detail, and for that, I am deeply grateful. Special thanks to each member … for bringing my culture into an innovative approach,” said Al-Ahmad.
Heba Jasmi showcases artistic eveningwear at Dubai Fashion Week
Updated 04 September 2024
Hams Saleh
DUBAI: Emirati brand Heba Jasmi showcased its Spring/Summer 2025 collection, titled “State of Art,” at Dubai Fashion Week on Tuesday.
The collection featured a striking combination of lace, abstract embroidered prints, pastel hues and saturated colors. Key elements included exaggerated circular silhouettes and artfully embroidered semi-sheer fabric, while the color palette ranged from sea blue to sandy tones punctuated by a few coral-colored and lilac gowns.
In an interview with Arab News, Sharina Al-Falasi, the co-founder and Chief Operating Officer of the label, shared insights about the brand’s latest presentation.
Look 1. (Supplied)
“It draws inspiration from the dramatic hues and structures observed in nature, culture and human artifacts, translating these elements into fashion,” Al-Falasi explained.
The brand, which launched in 2019, has so far released four collections and recently ventured into couture creations, a primary objective from the outset.
Look 2. (Supplied)
Al-Falasi also discussed the brand’s vision for its ready-to-wear line, emphasizing its appeal for women who prioritize sophisticated sartorial choices in their daily lives.
“It is designed for ambitious women, whether she’s changing the world through a successful career or focused on taking care of her family, she needs something on the go that can inspire her and set her apart from the crowd,” Al-Falasi said.
Look 3. (Supplied)
“We believe that women in the Middle East, and globally, seek inspiring and beautifully designed dresses,” she noted. “Our passion is to create unique pieces, which drives the core of our label. We stand out because of our commitment to quality and craftsmanship, blending structure with feminine cuts.”
Despite the challenges posed by the COVID-19 pandemic, the team at Heba Jasmi used the period to refine their creative vision and rethink their organizational structure.
“We turned what could have been a major setback into an opportunity for growth and development,” Al-Falasi said.
