Recipes for success: Saudi chef Heyam Abdelhadi shares advice and a tasty cheesecake recipe 

Recipes for success: Saudi chef Heyam Abdelhadi shares advice and a tasty cheesecake recipe 
Saudi chef Heyam Abdelhadi, better known as Chef Himi, currently serves as the executive chef at Bel Middle East. (Supplied)
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Updated 09 February 2024
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Recipes for success: Saudi chef Heyam Abdelhadi shares advice and a tasty cheesecake recipe 

Recipes for success: Saudi chef Heyam Abdelhadi shares advice and a tasty cheesecake recipe 
  • The Saudi chef and Bel Middle East culinary ambassador shares advice and a tasty cheesecake recipe 

DUBAI: Saudi chef Heyam Abdelhadi, better known as Chef Himi, currently serves as the executive chef at Bel Middle East, which markets several brands including Kiri, La Vache Qui Rit, Babybel, and Boursin. She is responsible for recipe creation, training and live demonstrations, among other tasks.  

Abdelhadi trained in the south of France, but it was in the US where her career really flourished. Having moved to the States with her husband, Abdelhadi became a mother for the first time, and during this transformative period, she came up with the idea of specialized cooking classes tailored to mothers with young children.  




Abdelhadi trained in the south of France, but it was in the US where her career really flourished. (Supplied)

The classes provided a nurturing space for mothers to explore their cooking skills, with a harmonious balance between culinary pursuits and motherhood. They also allowed her to combine two of her passions: cooking and building communities. 

When the family moved north to Canada, Abdelhadi opened her own restaurant, Madame Levant, bringing a taste of the Middle East to Toronto. 

Here, Abdelhadi discusses the importance of preparation and the challenge of souffle, and shares a khushaf cheesecake recipe. 

 Q: When you started out what was the most common mistake you made? 

A: Underestimating the importance of meticulous preparation. I’ve learned that attention to detail, from ingredient measurements to precise cooking times, is paramount for delivering consistently excellent dishes. 

What’s your top tip for amateur chefs? 

Invest in a good knife and good cookbooks. 

What one ingredient can instantly improve any dish? 

Salt. No matter how much umami or spices you try to add to a dish, you always need the right amount of salt to bring out the flavors. 

When you go out to eat, do you find yourself critiquing the food? Or are you able to switch off and enjoy the meal?  

I do pay attention to details when dining out, and can really express my disappointment if the meal was not up to the expected standard. You can really tell when there is care and love behind the dishes or if they were made without any soul. 

What’s your favorite cuisine when you go out to eat?  

Farm-to-table restaurants are always attractive to me, especially in places that are known for great agriculture. Otherwise, fusion cuisines where the chef showcases great creativity and execution. 

What’s your go-to dish if you have to cook something quickly at home? 

Air-fried salmon en papillote on a base of seasonal greens, marinated with honey, citrus slices, salt and pepper. I usually eat clean, and I find it to be one of the least time-consuming meals, full of nutrition and flavor. 

What customer request most annoys you? 

While I value customer preferences, excessive modifications to a dish can be challenging. It’s essential to strike a balance between accommodating individual tastes and preserving the integrity of the dish. 

What’s your favorite dish to cook and why? 

I absolutely love making khushaf cheesecake. It’s like taking regular cheesecake and giving it a local twist. The creaminess of the cheese, sweetness from qamar al-deen syrup, and a bit of crunch from almonds — it’s a delightful combo. It’s my way of blending our traditional flavors with a classic favorite, making it perfect for any gathering. It's all about adding a special touch to something familiar and turning it into a tasty experience. 

What’s the most difficult dish for you to get right? 

Mastering the perfect soufflé has always presented a challenge. The delicate balance of aeration, timing, and precise temperature control demands constant attention and practice. 

As a head chef, what are you like?  

I believe in maintaining a positive and collaborative kitchen environment. While I emphasize discipline and high standards, I prefer a constructive approach to teaching and guiding my team. Clear communication and mutual respect contribute to a motivated and efficient kitchen. 

Chef Himi’s khushaf cheesecake recipe  

INGREDIENTS 

For the crust: 1 cup (170g) Graham cracker crumbs; ¼ cup slivered almonds; ¼ cup pine nuts; 2 tbsp sugar; 1 tbsp brown sugar; 7 tbsp melted butter  

For the filling: 25 Kiri squares (roughly 400g of another brand of cream cheese); 120g sugar; 200g Greek yoghurt; 150ml whipping cream; 1½ tsp vanilla extract; 1⁄8 tbsp salt; 2 eggs; 25g corn starch; ½ cup diced fried fruits; Qamar Al-Deen syrup; 1 Kiri square (roughly 17g of another brand of cream cheese) 

INSTRUCTIONS 

For the crust:  

1. Preheat the oven to 150°. 

2. Process the crust ingredients together.  

3. Pour the crumbs into a pan and press the mixture down firmly.  

For the filling:  

1. Stir the Kiri cream cheese until it becomes smooth.  

2. Add the sugar, then the yoghurt, vanilla extract and salt, and stir together.  

3. Lightly beat the eggs one at a time and add. Then add the chopped dried fruits.  

4. Pour the mixture over your crust.  

5. Bake for 75 minutes at 160°, then allow to cool to room temperature. 

6. Refrigerate overnight.  

7. When you are ready to serve, heat the syrup in a pan, allow to cool, then mix in the final Kiri square. 

8. Pour the syrup on top and garnish with pine nuts and dried fruits. Serve.  

 


REVIEW: ‘His Three Daughters’ is a gloriously bumpy ride

REVIEW: ‘His Three Daughters’ is a gloriously bumpy ride
Updated 28 September 2024
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REVIEW: ‘His Three Daughters’ is a gloriously bumpy ride

REVIEW: ‘His Three Daughters’ is a gloriously bumpy ride
  • Though it starts off on the pretentious side, this New York City-set drama comes good in the end

LONDON: Viewers beware: the first two thirds of Netflix’s “His Three Daughters” is a Very Serious Film full of Very Serious Acting from a trio of Very Gifted Actors.

This tense, claustrophobic family drama tells the story of Katie, Christina and Rachel — played by Carrie Coon, Elizabeth Olsen and Natasha Lyonne, respectively — who return to the family home to look after their ailing father during his last days, butting heads on everything from groceries to life choices.

And writer-director Azazel Jacobs wants us all to know just how Very Serious it all is — so he has his cast speak and move like very accomplished thespians straight out of a critically lauded stage play.

So we learn all about the three women and their relationships with each other, and their father, from wildly gesticulated one-sided phone conversations, impassioned exposition dumps, and spectacularly articulate jibes they launch at one another.

“His Three Daughters” is on Netflix. (Supplied)

But it is the last third of the movie, when the three women must deal with the inevitable, that this goes from being a Very Serious Film to an actually great one.

Coon, Olsen and Lyonne all lean into the slightly caricatured roles they have established thus far, and all of a sudden, “His Three Daughters” becomes a sweet, heartbreaking, bitterly acerbic and wonderfully nuanced examination of an ever-shifting family dynamic that is more layered and relatable than the first hour of runtime ever hinted at.

Coon and Olsen make for good extremist foils — they sit at differing ends of the sister spectrum, one serious and efficient, the other laidback and irritatingly holistic.

But it is Lyonne’s Rachel who really makes the final act sing, bursting with approachable spikiness and disarming wit, all while visibly trying to keep it together while her world falls apart.

Jacobs has opted to shoot the movie on film, in a real location, both of which give “His Three Daughters” a visceral, lived-in feel that only adds to that sense of claustrophobic, sinking dread that their father’s life is coming to an end.

Forgive this movie its overwrought first hour and settle in for a final act that is as good as anything else that has been released this year.


Maggie Smith, star of stage, film, ‘Harry Potter’ series and ‘Downton Abbey,’ dies at 89

Maggie Smith, star of stage, film, ‘Harry Potter’ series and ‘Downton Abbey,’ dies at 89
Updated 27 September 2024
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Maggie Smith, star of stage, film, ‘Harry Potter’ series and ‘Downton Abbey,’ dies at 89

Maggie Smith, star of stage, film, ‘Harry Potter’ series and ‘Downton Abbey,’ dies at 89
  • Smith was frequently rated preeminent British female performer of a generation that included Vanessa Redgrave, Judi Dench
  • She remained in demand even in her later years despite saying, “When you get into the granny era, you’re lucky to get anything”

LONDON: Maggie Smith, the masterful, scene-stealing actor who won an Oscar for “The Prime of Miss Jean Brodie” in 1969 and gained new fans in the 21st century as the dowager Countess of Grantham in “Downton Abbey” and Professor Minerva McGonagall in the Harry Potter films, died Friday. She was 89.
Smith’s sons, Chris Larkin and Toby Stephens, said in a statement that Smith died early Friday in a London hospital.
“She leaves two sons and five loving grandchildren who are devastated by the loss of their extraordinary mother and grandmother,” they said in a statement issued through publicist Clair Dobbs.
Smith was frequently rated the preeminent British female performer of a generation that included Vanessa Redgrave and Judi Dench, with a clutch of Academy Award nominations and a shelf full of acting trophies.

She remained in demand even in her later years, despite her lament that “when you get into the granny era, you’re lucky to get anything.”
Smith drily summarized her later roles as “a gallery of grotesques,” including Professor McGonagall. Asked why she took the role, she quipped: “Harry Potter is my pension.”
Richard Eyre, who directed Smith in a television production of “Suddenly Last Summer,” said she was “intellectually the smartest actress I’ve ever worked with. You have to get up very, very early in the morning to outwit Maggie Smith.”
“Jean Brodie,” in which she played a dangerously charismatic Edinburgh schoolteacher, brought her the Academy Award for best actress, and the British Academy Film Award (BAFTA) as well in 1969.
Smith added a supporting actress Oscar for “California Suite” in 1978, Golden Globes for “California Suite” and “Room with a View,” and BAFTAs for lead actress in “A Private Function” in 1984, “A Room with a View” in 1986, and “The Lonely Passion of Judith Hearne” in 1988.
She also received Academy Award nominations as a supporting actress in “Othello,” “Travels with My Aunt,” “Room with a View” and “Gosford Park,” and a BAFTA award for supporting actress in “Tea with Mussolini.” On stage, she won a Tony in 1990 for “Lettice and Lovage.”

Her work in 2012 netted three Golden Globe nominations for the globally successful “Downton Abbey” TV series and the films “The Best Exotic Marigold Hotel” and “Quartet.”
Smith had a reputation for being difficult, and sometimes upstaging others.
Richard Burton remarked that Smith didn’t just take over a scene in “The VIPs” with him: “She commits grand larceny.” However, the director Peter Hall found that Smith wasn’t “remotely difficult unless she’s among idiots. She’s very hard on herself, and I don’t think she sees any reason why she shouldn’t be hard on other people, too.”
Smith conceded that she could be impatient at times.
“It’s true I don’t tolerate fools, but then they don’t tolerate me, so I am spiky,” Smith said. “Maybe that’s why I’m quite good at playing spiky elderly ladies.”
Critic Frank Rich, in a New York Times review of “Lettice and Lovage,” praised Smith as “the stylized classicist who can italicize a line as prosaic as ‘Have you no marmalade?’ until it sounds like a freshly minted epigram by Coward or Wilde.”
Smith famously drew laughs from a prosaic line — “This haddock is disgusting” — in a 1964 revival of Noel Coward’s “Hay Fever.”
“But unfortunately the critics mentioned it, and after that it never got a laugh,” she recalled. “The moment you say something is funny it’s gossamer. It’s gone, really.”
Margaret Natalie Smith was born in Ilford, on the eastern edge of London, on Dec. 28, 1934. She summed up her life briefly: “One went to school, one wanted to act, one started to act, one’s still acting.”

Her father was assigned in 1939 to wartime duty in Oxford, where her theater studies at the Oxford Playhouse School led to a busy apprenticeship.
“I did so many things, you know, round the universities there. ... If you were kind of clever enough and I suppose quick enough, you could almost do weekly rep because all the colleges were doing different productions at different times,” she said in a BBC interview.
She took Maggie as her stage name because another Margaret Smith was active in the theater.
Laurence Olivier spotted her talent, invited her to be part of his original National Theatre company and cast her as his co-star in a 1965 film adaptation of “Othello.”
Smith said two directors, Ingmar Bergman and William Gaskill, both in National Theatre productions, were important influences.
Alan Bennett, preparing to film the monologue “A Bed Among the Lentils,” said he was wary of Smith’s reputation for becoming bored. As the actor Jeremy Brett put it, “she starts divinely and then goes off, rather like a cheese.”
“So the fact that we only just had enough time to do it was an absolute blessing really because she was so fresh and just so into it,” said Bennett, who also wrote a starring role for Smith in “The Lady in the Van.”
However extravagant she may have been on stage or before the cameras, Smith was known to be intensely private.
Simon Callow, who acted with her in “A Room with a View,” said he ruined their first meeting by spouting compliments.
“I blurted out various kinds of rubbish about her and she kind of withdrew. She doesn’t like that sort of thing very much at all,” Callow said in a film portrait of the actress. “She never wanted to talk about acting. Acting was something she was terrified to talk about because if she did, it would disappear.”
Smith was made a Dame Commander of the British Empire, the equivalent of a knight, in 1990.
She married fellow actor Robert Stephens in 1967. They had two sons, Christopher and Toby, and divorced in 1975. The same year she married the writer Beverley Cross, who died in 1998.


Maggie Smith, star of stage, film, ‘Harry Potter’ series and ‘Downton Abbey,’ dies at 89

Maggie Smith, star of stage, film, ‘Harry Potter’ series and ‘Downton Abbey,’ dies at 89
Updated 27 September 2024
Follow

Maggie Smith, star of stage, film, ‘Harry Potter’ series and ‘Downton Abbey,’ dies at 89

Maggie Smith, star of stage, film, ‘Harry Potter’ series and ‘Downton Abbey,’ dies at 89
  • Smith died early Friday in a London hospital
  • Smith was frequently rated the preeminent British female performer of a generation that included Vanessa Redgrave and Judi Dench

LONDON: Maggie Smith, the masterful, scene-stealing actor who won an Oscar for “The Prime of Miss Jean Brodie” in 1969 and gained new fans in the 21st century as the dowager Countess of Grantham in “Downton Abbey” and Professor Minerva McGonagall in the Harry Potter films, died Friday. She was 89.
Smith’s sons, Chris Larkin and Toby Stephens, said in a statement that Smith died early Friday in a London hospital.
“She leaves two sons and five loving grandchildren who are devastated by the loss of their extraordinary mother and grandmother,” they said in a statement issued through publicist Clair Dobbs.
Smith was frequently rated the preeminent British female performer of a generation that included Vanessa Redgrave and Judi Dench, with a clutch of Academy Award nominations and a shelf full of acting trophies.

She remained in demand even in her later years, despite her lament that “when you get into the granny era, you’re lucky to get anything.”
Smith drily summarized her later roles as “a gallery of grotesques,” including Professor McGonagall. Asked why she took the role, she quipped: “Harry Potter is my pension.”
Richard Eyre, who directed Smith in a television production of “Suddenly Last Summer,” said she was “intellectually the smartest actress I’ve ever worked with. You have to get up very, very early in the morning to outwit Maggie Smith.”
“Jean Brodie,” in which she played a dangerously charismatic Edinburgh schoolteacher, brought her the Academy Award for best actress, and the British Academy Film Award (BAFTA) as well in 1969.
Smith added a supporting actress Oscar for “California Suite” in 1978, Golden Globes for “California Suite” and “Room with a View,” and BAFTAs for lead actress in “A Private Function” in 1984, “A Room with a View” in 1986, and “The Lonely Passion of Judith Hearne” in 1988.
She also received Academy Award nominations as a supporting actress in “Othello,” “Travels with My Aunt,” “Room with a View” and “Gosford Park,” and a BAFTA award for supporting actress in “Tea with Mussolini.” On stage, she won a Tony in 1990 for “Lettice and Lovage.”

Her work in 2012 netted three Golden Globe nominations for the globally successful “Downton Abbey” TV series and the films “The Best Exotic Marigold Hotel” and “Quartet.”
Smith had a reputation for being difficult, and sometimes upstaging others.
Richard Burton remarked that Smith didn’t just take over a scene in “The VIPs” with him: “She commits grand larceny.” However, the director Peter Hall found that Smith wasn’t “remotely difficult unless she’s among idiots. She’s very hard on herself, and I don’t think she sees any reason why she shouldn’t be hard on other people, too.”
Smith conceded that she could be impatient at times.
“It’s true I don’t tolerate fools, but then they don’t tolerate me, so I am spiky,” Smith said. “Maybe that’s why I’m quite good at playing spiky elderly ladies.”
Critic Frank Rich, in a New York Times review of “Lettice and Lovage,” praised Smith as “the stylized classicist who can italicize a line as prosaic as ‘Have you no marmalade?’ until it sounds like a freshly minted epigram by Coward or Wilde.”
Smith famously drew laughs from a prosaic line — “This haddock is disgusting” — in a 1964 revival of Noel Coward’s “Hay Fever.”
“But unfortunately the critics mentioned it, and after that it never got a laugh,” she recalled. “The moment you say something is funny it’s gossamer. It’s gone, really.”
Margaret Natalie Smith was born in Ilford, on the eastern edge of London, on Dec. 28, 1934. She summed up her life briefly: “One went to school, one wanted to act, one started to act, one’s still acting.”

Her father was assigned in 1939 to wartime duty in Oxford, where her theater studies at the Oxford Playhouse School led to a busy apprenticeship.
“I did so many things, you know, round the universities there. ... If you were kind of clever enough and I suppose quick enough, you could almost do weekly rep because all the colleges were doing different productions at different times,” she said in a BBC interview.
She took Maggie as her stage name because another Margaret Smith was active in the theater.
Laurence Olivier spotted her talent, invited her to be part of his original National Theatre company and cast her as his co-star in a 1965 film adaptation of “Othello.”
Smith said two directors, Ingmar Bergman and William Gaskill, both in National Theatre productions, were important influences.
Alan Bennett, preparing to film the monologue “A Bed Among the Lentils,” said he was wary of Smith’s reputation for becoming bored. As the actor Jeremy Brett put it, “she starts divinely and then goes off, rather like a cheese.”
“So the fact that we only just had enough time to do it was an absolute blessing really because she was so fresh and just so into it,” said Bennett, who also wrote a starring role for Smith in “The Lady in the Van.”
However extravagant she may have been on stage or before the cameras, Smith was known to be intensely private.
Simon Callow, who acted with her in “A Room with a View,” said he ruined their first meeting by spouting compliments.
“I blurted out various kinds of rubbish about her and she kind of withdrew. She doesn’t like that sort of thing very much at all,” Callow said in a film portrait of the actress. “She never wanted to talk about acting. Acting was something she was terrified to talk about because if she did, it would disappear.”
Smith was made a Dame Commander of the British Empire, the equivalent of a knight, in 1990.
She married fellow actor Robert Stephens in 1967. They had two sons, Christopher and Toby, and divorced in 1975. The same year she married the writer Beverley Cross, who died in 1998.


Georgina Rodriguez jets to Paris for Messika show

Georgina Rodriguez jets to Paris for Messika show
Updated 27 September 2024
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Georgina Rodriguez jets to Paris for Messika show

Georgina Rodriguez jets to Paris for Messika show

DUBAI: Saudi-based Argentine model Georgina Rodriguez jetted to Paris this week to attend the Messika show at the city’s fashion week.

She wore an off-the-shoulder, form-fitting silver dress with a metallic finish and slight draping at the bust, complementing her look with silver pointed-toe heels, a glitzy diamond necklace and matching earrings.

Deema Al Asadi, Myriem Boukadida and Veronica Ferraro attended the Messika Paris Womenswear Spring-Summer 2025 show as part of Paris Fashion Week. (Getty Images)

A host of other A-list celebrities attended the event, including Cardi B, Kelly Rutherford, Nina Dobrev, Cole Sprouse, Natalia Vodianova and Lucien Laviscount, alongside Arab luminaries including Emirati Yemeni singer Balqees Fathi, Egyptian actress Ghada Abdel Razik and Iraqi fashion influencer Deema Al-Asadi.

Emirati Yemeni singer Balqees Fathi was also in attendance. (Getty Images)

Also present was Tunisian model and actress Myriem Boukadida, who caught attention posing in a dark green oversized blazer featuring a plunging neckline, layered over a matching top and a flowy, sheer, calf-length skirt. Boukadida completed her ensemble with beige high-heeled shoes and subtle bracelets and earrings.

Moroccan Italian model Malika El-Maslouhi walked the runway. (Getty Images)

Meanwhile, Moroccan Italian model Malika El-Maslouhi walked the runway, donning a black outfit and accessorizing with a wide-brimmed hat, multiple layered necklaces featuring diamonds and turquoise, and matching statement earrings and rings.


Part-Saudi model Amira Al-Zuhair stuns in bold Balmain showcase at Paris Fashion Week

 Part-Saudi model Amira Al-Zuhair stuns in bold Balmain showcase at Paris Fashion Week
Updated 27 September 2024
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Part-Saudi model Amira Al-Zuhair stuns in bold Balmain showcase at Paris Fashion Week

 Part-Saudi model Amira Al-Zuhair stuns in bold Balmain showcase at Paris Fashion Week

DUBAI: French Saudi model Amira Al-Zuhair is making waves at Paris Fashion Week, beginning with her appearance for Ganni and continuing with a striking presence at Balmain.

She showcased a structured gray blazer over a classic black T-shirt, complemented by vibrant red suede over-the-knee boots that added a bold pop of color. Her ensemble was completed with a neutral-toned shoulder bag and a striking gold pendant necklace.

Olivier Rousteing, the fashion designer and creative director of Balmain since 2011, delivered a collection that unapologetically fused boldness with a dose of camp.

Prints of half-painted women’s faces guided the eye down floor-length gowns, while disembodied eyes, lips, noses and nails formed the visual leitmotifs of the evening.

At its core, this collection’s identity hinged on the sculptural, almost scaffolded, shoulders — a signature of Balmain’s power dressing reimagined yet again. The effect extended to the hips in gold-striped chain mini-dresses, evoking an exaggerated 1980s glamor.

There were moments of pure fun and theatricality, such as a cream skirt with a 3D face peering out, a delightful nod to Rousteing’s penchant for surrealist humor. This playful audacity keeps the Balmain faithful coming back, even when some pieces falter under the weight of their own excess.

In many ways, this collection echoed themes in his archive: an obsession with exaggerated silhouettes, a love for sculptural shoulders, and a desire to embed his personal narrative into the fabric of his designs.

On Wednesday, Al-Zuhair walked the runway for Ganni in a dark grey, structured blazer styled with similarly colored tailored pants. Adding an artistic touch, the model also wore a large, ruffled pale blue scarf around her neck, which contrasted with the dark tones of the outfit.

Before her appearance in Paris, she had turned heads at Milan Fashion Week walking for Missoni.

There, she showcased a dynamic ensemble marked by bold, wavy stripes in black, white, and yellow. The look featured an asymmetrical top with exaggerated ruffled detailing cascading down one side, paired with a high-waisted bikini bottom. Vibrant yellow high-heeled sandals completed the outfit, adding an extra pop of color.