Mountains meet the sea in Georgia’s Batumi — a new hotspot for Gulf tourists

Mountains meet the sea in Georgia’s Batumi — a new hotspot for Gulf tourists
With direct flights operating from Jeddah and Riyadh — as well as Dubai — Batumi is becoming an increasingly popular destination for GCC residents. (Shutterstock)
Short Url
Updated 11 July 2024
Follow

Mountains meet the sea in Georgia’s Batumi — a new hotspot for Gulf tourists

Mountains meet the sea in Georgia’s Batumi — a new hotspot for Gulf tourists
  • The Black Sea resort is becoming increasingly popular with GCC tourists. It’s easy to see why 

BATUMI: Georgia’s tourism authority has said it aims to triple the amount of visitors the country receives from Saudi Arabia over the next five to 10 years.  

With direct flights operating from Jeddah and Riyadh — as well as Dubai — Batumi is becoming an increasingly popular destination for GCC residents. It’s less than four hours by plane, and there’s just one hour’s time difference from the Kingdom. Safety and affordability are also major draws. 

Batumi has much else to offer, including 21km of swimmable areas along its coast, stunning botanical gardens overlooking the clear blue waters of the Black Sea, and, of course, the sea itself. 




Batumi Botanical Garden overlooks the clear blue waters of the Black Sea. (Shutterstock)

There is also the beautiful lush countryside no more than an hour’s drive from the city center. There, you’ll find walking trails through the tree-lined mountains and hills; valleys filled with vineyards; and rivers and streams that cut through the undergrowth. Visit the breathtaking Makhuntseti waterfall, which is located in the village of the same name. 

Another must-visit just a short drive out of the city is the point at which the muddy waters of the Acharistskali meet the clear Chorokhi river that enters from Turkiye. The two rivers join, but do not appear to mix at first. There are many theories as to why: some say it’s the difference in density or minerals of the water, others believe it is due to temperature difference. What all can agree on is that it provides an extraordinary sight as the two rivers flow alongside each other undisturbed before finally blending further downstream. 

Batumi’s surrounding countryside, then, is the perfect place to unwind, but also to get involved in outdoor pursuits such as mountaineering. For the less energetic, there’s always bird watching — hundreds of thousands of migratory species suddenly appear around Batumi every September. 

But you don’t have to leave the city to enjoy some nature: Batumi is home to a number of landscaped parks and gardens, including the Seaside Park, which runs alongside the boardwalk for 7km, and is filled with plants, trees and sculptures. 




The Kinetic Statue of Ali and Nino stands in Batumi. (Shutterstock)

There’s also the 108-hectare Batumi Botanical Garden — one of the largest in the former Soviet Union — in Mtsvane Kontskhi, around 9km from the city center. As well as the carefully thought-out gardens, there is also a zipline that runs in front of the cliff face – the greenery on your left and the sea to the right — and way down below. 

A stroll along the boardwalk provides views of the mountains, the sea and the modern towers that decorate parts of Batumi’s coast, as well as the mesmerizing kinetic statue of Ali and Nino — the creation of Tamara Kvesitadze which tells the story of a Muslim and Christian who fell in love. 

In the same area are various boats offering short trips to sea to get a wider view of the city’s impressive coastline. 

Away from the water, the city streets are perfect for wandering — the older, smaller, architecture offering a more-relaxing environment along the tree-lined historic areas which open into various squares where you can relax at one of the many cafés and restaurants. You might even catch a display of traditional Georgian dancing, where the men leap impressively into the air, while the women seem to glide effortlessly around. 




Batumi's Old Town boasts various architectural styles. (Shutterstock)

As for the food… be warned, Georgians love carbs. But it’s worth indulging in a Khachapuri Adjaruli — a boat-shaped white bread dough, covered in a heavy white cheese, with a raw egg on top. 

There’s also the traditional Khinkali — a dumpling filled with meat and gravy. Eating this is a skill in itself — you bite a small hole in the dumpling and take a slurp of gravy before savoring the meat. But do wait for it to cool before trying this! 

Stews are heavily featured, and if these don’t float your boat, then the grilled meat is a great option, alongside a bowl of Georgia’s finest tomato and cucumber salad — especially welcome after a few hours tramping through the winding streets or following a leisurely stroll through the mountains. 

Whether you plan to make Batumi part of a wider visit to Georgia, or simply to spend a week or long weekend here, it’s a great location to relax, explore, and — if 95 percent of Saudis surveyed are to be believed — come back to.  


Egyptian screenwriter Mariam Naoum to mentor young Saudi female filmmakers 

Egyptian screenwriter Mariam Naoum to mentor young Saudi female filmmakers 
Updated 13 sec ago
Follow

Egyptian screenwriter Mariam Naoum to mentor young Saudi female filmmakers 

Egyptian screenwriter Mariam Naoum to mentor young Saudi female filmmakers 
  • Netflix’s Saudi Female Future Filmmakers Program will launch in September 

JEDDAH: Fifteen new and emerging female filmmakers from Saudi Arabia are about to get the opportunity of a lifetime: mentorship from famed Egyptian screenwriter Mariam Naoum, as part of a new training program from Netflix run in partnership with Naoum’s Sard Writing Room and NEOM Media Industries. 

The first of the Saudi Female Future Filmmakers Program’s two phases will launch in September. 

“The first phase is an intense introduction to the processes of writing, directing and production. It will involve extensive time being spent with all the participants taking them through the basics,” Naoum tells Arab News. “And then the second phase will be more hands-on work done in groups. The participants will be separated or grouped into teams of four or five, and each group will write their own projects or their own short film.” 

Mariam Naoum. (Supplied)

Participants will then be given the opportunity to pitch their scripts to a panel of experts in a simulation pitch exercise at the upcoming Red Sea International Film Festival. They will also be guests at the festival, attending workshops and panel discussions as well as networking events.  

Sard, or the Sard Writing Room, was founded by Naoum in 2016 and is a “dedicated hub” for scriptwriters that has so far spawned 17 TV series and a feature film. Sard is billed as “a safe space for aspiring screenwriters to develop their projects, improve their writing skills, and practice their creative freedom.” 

Netflix previously partnered with Sard to launch the Because She Created writing program in Egypt to train women in writing and develop their storytelling and creative expression skills. 

“Sard believes that expressing oneself through writing is the first step to self-discovery and we’re proud to have discovered talent through this program that we feel will one day become the scriptwriters of the future,” Naoum said at the time. 

When asked about the kind of talent they are looking to attract for the new Saudi-based program, Naoum said: “We are looking for passionate participants. We want to discover indie filmmakers or women who are now looking at filmmaking as a career option and are looking to discover their abilities to express themselves through writing, directing and production. 

The first of the Saudi Female Future Filmmakers Program’s two phases will launch in September. (Supplied)

“We are looking for women who want to tell their own authentic stories, and through the application process, we are trying — through the questions — to discover that with them. The application form features questions like their favorite films, their favorite books, their favorite story that changed the lives, a moment in their life that they appreciate… We are trying to discover them as humans and discover their passion and the reason behind why they are looking into this.” 

Naoum — known for her work on films like “One-Zero” and “Between Two Seas,” as well as TV series including “Take Care of Zizi” — has garnered acclaim for writing stories that focus on issues facing everyday people, especially women. Most of her work is based on true stories. 

“I think this is my way to reflect on what is happening in the region and my feelings toward the society I am living in. I’m always reflecting on current happenings, how we arrived here — how did Egyptians end up at this point in this kind of situation in society? And then I want to share my thoughts with the audience,” she says. 

Naoum is bullish about the prospects for the Saudi entertainment industry. “I think it has great potential because there is a will for doing things and creating opportunities and there is a true wealth in terms of a young generation of filmmakers. And I can see how they are investing in studying cinema with workshops and more. And I think this will lead to a new wave,” she says. 

Applications for the Saudi Female Future Filmmakers Program are open until August 10 for women aged 21 and over, residing in Saudi Arabia with no prior experience working in the film and TV industry. 


Rana Banafa, Saudi founder of MrayaBeauty, on her cruelty-free cosmetics 

Rana Banafa, Saudi founder of MrayaBeauty, on her cruelty-free cosmetics 
Updated 9 min 20 sec ago
Follow

Rana Banafa, Saudi founder of MrayaBeauty, on her cruelty-free cosmetics 

Rana Banafa, Saudi founder of MrayaBeauty, on her cruelty-free cosmetics 

RIYADH: Saudi entrepreneur Rana Banafa, founder of the vegan cosmetics brand MrayaBeauty, has used her pharmaceutical expertise to develop products that are particularly useful for those with sensitive skin. 

“I have sensitive skin myself, so I thought, ‘Why not use my background and create my own products?’” she told Arab News. “I love skincare and beauty products, and — given my scientific background — I knew the ingredients and how to mix them to create something safe and effective.” 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by Mraya (@mrayabeauty)

MrayaBeauty offers a range of vegan makeup products for the face, eyes, and lips, along with makeup brushes. All of its products are billed as halal-friendly, cruelty-free, free of parabens and sulfates, and packaged sustainably. 

It hasn’t been a straightforward journey, Banafa explained. While her products are made in China, finding certified manufacturers to work with cruelty-free ingredients was a significant challenge.  

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by Mraya (@mrayabeauty)

“The products are made from plant derivatives. Nothing is derived from animals or tested on animals,” she noted. 

Making sure that the packaging is sustainable was also crucial for her. “Our goal is to create products that are safe and protect our customers’ skin. To achieve this, we must also care for the environment,” she said. 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by Mraya (@mrayabeauty)

Banafa envisions a future where her products are manufactured in Saudi Arabia. “The beauty industry in Saudi Arabia is booming,” she said. “Through my research, I learned that people are very conscious consumers. They focus on quality and ingredients.” This awareness, she explained, drives brand owners to create products with high standards and quality to meet customer expectations. 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by Mraya (@mrayabeauty)

This focus on quality and ingredients is integral to the concept behind MrayaBeauty. Mraya means “mirror” in Arabic, and symbolizes Banafa’s belief in reflecting inner and natural beauty.  

“We understand that makeup should emphasize the uniqueness you already possess. Our brand is designed to be a tool that enhances your individuality, allowing your true beauty to shine through,” Banafa said. “I want Mraya to be inspiring every woman to achieve and pursue her goals.” 


Villa Hegra celebrates a year of cultural exchange in the heart of AlUla 

Villa Hegra celebrates a year of cultural exchange in the heart of AlUla 
Updated 01 August 2024
Follow

Villa Hegra celebrates a year of cultural exchange in the heart of AlUla 

Villa Hegra celebrates a year of cultural exchange in the heart of AlUla 
  • The CEO of the Saudi-French cultural hub discusses its achievements so far and plans for the future 
 

DUBAI: The Saudi-French cultural institution Villa Hegra — intended as “an incubator for artists and creators” — celebrated the first anniversary of its pre-opening program in July. It has been a year marked by a wide range of cultural activities and concerts, artistic retreats and research programs in the heart of AlUla as part of Villa Hegra’s first pre-opening cycle, which runs until the end of this year.  

Villa Hegra was officially established in an intergovernmental agreement signed on Dec. 4, 2021, by Saudi Arabia’s Minister of Culture Prince Badr bin Abdullah Al-Saud and Jean-Yves Le Drian, then-French minister of foreign affairs, now president of AfAlula (the French Agency for AlUla Development). One of Villa Hegra’s goals is to foster cultural dialogue between Saudi Arabia and France. 

Artists from the Opera National de Paris met with students of the AlUla Music Hub, as part of the Villa’s recent partnership with the opera. (Supplied)

“It is not a private initiative. It is a state-to-state initiative that represents the willingness of two parties to collaborate at the cultural level,” Fériel Fodil, CEO of Villa Hegra, told Arab News’ French edition. “The villa will be a cluster of three assets: the cultural center, where the artist residencies will take place, and which will include a school for tourism and hospitality (Firendi AlUla); an apartment hotel with 80 rooms; and the villa itself.” 

The ultimate aim is to foster dialogue between both international and regional artists, local communities, and the oasis of AlUla. 

“When I think about architects, I go back to their ethos around working with nature rather than against it. When I think about the villa, I want to build humble yet impactful programs (for it),” Fodil said. “Architects in Alula add, complete, and transform. They build around trees to preserve the oasis.” 

American-Saudi artist Sarah Brahim and French artist Ugo Schiavi were the first of Villa Hegra's artists to travel to AlUla in July 2023, as part of the Villa's first preopening cycle. (Supplied)

Villa Hegra will be home to spaces for the performing arts, dancing, research, a digital studio, visual arts exhibitions, and yoga and fitness. It will also host artist residencies. The cultural center and the artist residencies are scheduled to launch towards the end of 2026, following the year-long second cycle of the pre-opening program. The hotel and Firendi AlUla should open in 2027.  

Part of Villa Hegra will also be dedicated to a regeneration of the town’s oasis, and the 10-hectare site itself will connect two fundamental elements of AlUla's landscape: the urban and the natural.  

“We are not (an add-on), we are rooted within the town,” said Fodil. “It is a very dense plot, and then very scattered in the oasis part. That (design) is going back to the heritage of AlUla where you have a winter farm and a ‘rihla’ — or journey — between the winter farm and the summer farm.” 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by Villa Hegra (@villahegra)

Villa Hegra has already initiated research into the cultural and socio-economic impact of cultural activations by the Royal Commission for AlUla on the local community. “The cultural center’s main objective is to engage with the community. We are working on the cultural program to reach the villa’s local and international ambition equally,” Fodil said. 

“We are trying to have a number of pre-opening programs — exhibitions for artist residencies, and public outreach activities, around podcasts, publications, and cinema,” she continued. 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by Villa Hegra (@villahegra)

Naturally, French culture will play a major role. Following a successful concert organized by Villa Hegra at Maraya Concert Hall in January, the Opéra national de Paris will be back in AlUla to perform and to hold further workshops. The villa’s partnership with the Opéra national de Paris is in line with the Kingdom’s cultural ambitions, with the Royal Diriyah Opera House set to open in 2028. 

And over the past year, Villa Hegra has partnered with several leading French institutions to offer unique cultural initiatives, enrich AlUla’s cultural landscape, and facilitate the exchange of knowledge between Saudi Arabia and France. More than 20 French and Saudi artists have been collaborating and sharing knowledge at the villa, and more than 300 children and teenagers from the local community have participated in multidisciplinary workshops. There have also been talks given by experts in the fields of music, cinema, visual arts, architecture and the performing arts. 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by Villa Hegra (@villahegra)

As part of its second pre-opening cycle, along with the performance from the Opéra national de Paris, the villa will also host a science and arts workshop for children and teenagers, and a week of initiation into moviemaking and the history of cinema. 

The distinctiveness of the villa lies in its duality — Saudi and French, urban and oasis, open to children and adults, and with a local and international outreach. 

Partnerships are essential to the cultural identity of Villa Hegra. Whether through student exchange programs, research, or live events, the objective is to build momentum around art in the region. 

“We are also trying to find partners from the Saudi side, such as Hayy Jameel in Jeddah,” Fodil said. “We are looking for partnerships that have a look and feel of dialogue and have a training component to them, while bringing the best of both French and Saudi expertise.” 


Saudi graphic designer Shoug Almutairi on her prize-winning work 

Saudi graphic designer Shoug Almutairi on her prize-winning work 
Updated 01 August 2024
Follow

Saudi graphic designer Shoug Almutairi on her prize-winning work 

Saudi graphic designer Shoug Almutairi on her prize-winning work 
  • ‘Posters need to be built not on aesthetics, but logic,’ Almutairi says 

DUBAI: Ever since she was a child, Saudi graphic designer Shoug Almutairi has had trouble expressing herself verbally, she tells Arab News.  

“I have been diagnosed with ADHD (Attention deficit/hyperactivity disorder), so conveying anything is not very easy for me,” the Riyadh-based Almutairi says. “It’s easier to use visual tools to express myself.”  

Shoug Almutairi’s winning poster is an ode to her father. (Supplied)

Born in 1999, Almutairi grew up in a family of engineers and finance experts. “I’m the only design person in the family,” she says. “But I never thought of myself as a person who would indulge in the arts. Since childhood, I was really focused on math, logic and science. I never thought that I could combine all of these components and utilize them in a different visual language.” 

Almutairi had dreams of pursuing architecture, since she believed it was the perfect fit — combining art and math. However, by 2017 she was studying graphic design at Princess Nourah bint Abdulrahman University in Riyadh.  

“My perspective on graphic design is, always, function above aesthetics,” she explains. “To me, aesthetics don’t mean a thing if they don’t have any justification behind them. Posters that are impactful are the ones that can reach people as fast as possible and can convey the message as fast as possible. They need to be built not on aesthetics, but logic.” 

Shoug Albutairi’s ‘One to One Slideshow.’ (Supplied)

During her college days, Almutairi launched an online platform called “Dar Mdrban” (the second word means ‘gateway’ in Bedouin Arabic) with the aim of creating a visual library that reflects Saudi Arabia’s typography landscape, contemporary culture, storied heritage and intangible culture.  

“I started this project because, growing up, I didn’t see myself being represented in culture,” Almutairi, who works under the Diriyah brand in the Kingdom, says. “I wanted it to be a gateway for contemporary design and experimentation.”  

One of Almutairi’s illustrations is currently on view at a group exhibition, running until Aug. 30, in Dubai’s ICD Brookfield Place Arts Space. Inspired by personal memories and cultural treasures, the show is called “Memory Box,” acting as a third iteration of the venue’s annual Tasmeem (which means design in Arabic) initiative. Tasmeem is a graphic design and poster show that highlights up-and-coming designers and illustrators from the region.  

“As we transition from childhood to adulthood, the experiences and narratives we encounter shape our existence,” reads a statement published by organizers. “This year’s exhibition explores the folkloric tales, dances, music, proverbs, and games integral to our upbringing, revealing the shared experiences that thread through our lives.” 

For this project, Almutairi was inspired by her father, and her winning poster is something of an homage to him. One day, she came across his old suitcase, full of personal items close to his heart — cameras, photographs and other personal documents, including one of the invitations to his wedding.  

“I wanted to my explore my father’s history,” she says. “I wanted to explore his suitcase and the adventures that he had and to dissect the secrets that he had in his childhood.” 

The monochromatic artwork has a central text, executed in cursive Arabic calligraphy, which reads, “Every home has its secrets.” Almutairi knows that the phrase has a negative connotation, but she wanted to create a relatable work.  

“I wanted something that would touch every household, not just mine,” she says. 

Made up of a variety of geometric shapes, the image is — intentionally — heavily pixelated to give a retro feel, harking back to a time when typography wasn’t exact. In the center, a suitcase is wide open, with components based on what Almutairi found among her father’s belongings spilling out. The camel pictures, for instance, are based on images she took with her father on a trip.  

“He has his whole life in this suitcase,” she says. “I see my father’s life scattered throughout this poster.” 


REVIEW: ‘Time Bandits’ adaptation channels its Monty Python roots 

REVIEW: ‘Time Bandits’ adaptation channels its Monty Python roots 
Updated 01 August 2024
Follow

REVIEW: ‘Time Bandits’ adaptation channels its Monty Python roots 

REVIEW: ‘Time Bandits’ adaptation channels its Monty Python roots 
  • Apple’s new comedy series reimagines Terry Gilliam’s time-hopping cult classic 

LONDON: It’s hard to think of many people better suited to breathe new life into Terry Gilliam’s 1981 surrealist comedy film “Time Bandits” than Jermaine Clement and Taika Waititi (creators and stars of “What We Do in the Shadows”), and Iain Morris (co-creator of “The Inbetweeners”). After all, helmers like that clearly know how to tread the fine line between silly fun and silly stupid, and the backing of Apple TV+ means none of the low-tech effects and plywood sets typical of the original movie. Although some might argue that its Eighties aesthetic gives Gilliam’s film much of its now-beloved charm. 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by Apple TV (@appletv)

So all the signs for this big-budget remake series — which follows a cohort of time-travelling thieves and a starry-eyed nerdy kid who ends up being their newest recruit — are good. Kevin (newcomer Kal-El Tuck) is a history-obsessed 11-year-old with no friends, and a family that doesn’t get him. So when the Time Bandits, led by Penelope (Lisa Kudrow), stumble into his bedroom as they traverse time and space, Kevin wastes no time in tagging along. As he learns, the troupe have stolen a map of the universe from the supreme being (Waititi), and attracted the attention of the sinister Pure Evil (Clement). They now find themselves pursued by an array of wondrous and terrifying characters as they hopscotch through the history books Kevin loves so much. 

With 10 episodes (two of which were available at the time of writing) to play with, instead of a 90-minute movie, Clement, Waititi and Morris have much more freedom to indulge their silly imaginations — and they manage a good approximation of that post-Monty Python, Gilliam-esque humor — as they lampoon historical figures from across the ages.  

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by Apple TV (@appletv)

In Tuck they have a pleasant-enough child star, but the master stroke here is Kudrow as the ceaselessly sardonic leader of the Bandits. For while the script is decent, it’s Penelope’s wearied frustrations with her fellow thieves — and her hilariously unfounded distrust of a very polite 11-year-old boy — that give this show its hook.  

The new “Time Bandits” might have streaming-money polish, but it’s still got that unerringly charming, wonderfully silly, Gilliam heart.