Alana Hadid puts spotlight on Palestinian stories through production company

Alana Hadid puts spotlight on Palestinian stories through production company
Alana Hadid, often only recognized as the sister of supermodels Gigi and Bella Hadid, is amplifying her own voice for the Palestinian cause. (AFP)
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Updated 26 August 2024
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Alana Hadid puts spotlight on Palestinian stories through production company

Alana Hadid puts spotlight on Palestinian stories through production company
  • Documentary ‘Walled Off’ is movie firm’s debut offering
  • Watermelon Pictures founded with Badie and Hamza Ali

LOS ANGELES: Alana Hadid, often only recognized as the sister of supermodels Gigi and Bella Hadid, is amplifying her own voice for the Palestinian cause.

Deeply passionate about her heritage, Hadid has been using her platform to bring attention to the struggles of the Palestinian people, particularly in the light of the ongoing events in Gaza.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by Alana Hadid (@lanzybear)

Her activism is not restricted to just the online space; it is a deeply personal commitment to highlighting the stories that matter, she said.

“I was always hearing stories, stories about the cities and the towns that their ancestors helped build. The lives that they had and their lives as refugees and then eventually in the United States.

“But I was very proud, always proud of being a Palestinian. That was what I learned as a child,” Hadid told Arab News.

Shifting her focus to filmmaking, Hadid — along with brothers Badie Ali and Hamza Ali — co-founded Watermelon Pictures, a production company with a mission to create compelling, impactful stories that resonate with global audiences.

Through her work in film, she aims to bridge the gap between mainstream media and the often-overlooked narratives of the Palestinian people.

“I was honored to be asked to be the creative director of Watermelon Pictures. I think it’s not only a passion project for Hamza and Badie, but it is an opportunity for Palestinians to have a place to go to tell their stories.

“I get emotional about it. I think it’s just one of the most beautiful things that people have a place where they can put their stories. And we know that we have a safe place for that,” said Hadid.

The production company’s debut project, the 2024 documentary “Walled Off,” delves into the realities of life under occupation, offering a poignant and raw look at the experiences of Palestinians.

“The Waldorf Hotel’s design is by the graffiti artist Banksy. It contains a secret museum. And essentially the hotel has a view of what we call the worst view in the world, the apartheid wall.

“So really, this hotel provides the framework for the film and just demonstrates the difficulty of living under military occupation,” said Hadid.

Through this film and her future projects, Hadid seeks to amplify marginalized voices and bring a human face to the political issues that often dominate headlines.

“Watch our social media and our website to see what’s coming next. But we have a lot of stories. We haven’t heard these stories and these stories have been censored for so long.

“So, we’ve been flooded with not only movies that have already been made that really need to be seen, but also with filmmakers, actors, editors. And we’re really excited to just be a hub for that for Palestinians,” she said.


Lindsay Lohan, part-Arab models stun at Michael Kors show

Lindsay Lohan, part-Arab models stun at Michael Kors show
Updated 13 sec ago
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Lindsay Lohan, part-Arab models stun at Michael Kors show

Lindsay Lohan, part-Arab models stun at Michael Kors show

DUBAI: Dubai-based Hollywood star Lindsay Lohan was spotted at the Michael Kors show during New York Fashion Week, where she watched part-Arab models Nora Attal and Loli Bahia walk the runway.

Lohan wore a sleek silver satin slip dress paired with a long grey coat featuring a fur collar. She kept her look minimal with subtle jewelry and straight, flowing hair.

Lohan wore a sleek silver satin slip dress paired with a long grey coat featuring a fur collar. (Getty Images)

The show took place in a cavernous space in midtown, with stark metal benches lining the rectangular walls. Gigantic faux black rocks were scattered throughout the center and sides of the venue, similar to the rocky beaches of the Amalfi Coast. The dramatic Italian cliffs in an urban setting played into Kors’ abstract inspiration.

Lohan watched as the Arab models graced the runway. Attal wore a strapless black lace midi dress with a deep sweetheart neckline and a small center cutout, accentuated by a belted waist that added structure to the silhouette.

Attal wore a strapless black lace midi dress with a deep sweetheart neckline. (Getty Images)

Meanwhile, Bahia was seen in a tailored black ensemble, featuring a sharp blazer with a plunging neckline and high-waisted shorts, cinched at the waist with a thin black belt for a sleek, minimalist look.

For this collection Kors told The Associated Press that he was “glued” to pop culture and was especially fascinated by the recent Netflix series “Ripley,” based on Patricia Highsmith’s classic novel, “The Talented Mr. Ripley.” The dark story is set in coastal Italy where a man who covets a friend’s wealthy life kills him and takes over his identity, killing anyone else who threatens his new persona.

Bahia was seen in a tailored black ensemble, featuring a sharp blazer with a plunging neckline and high-waisted shorts. (Getty Images)

“There’s lots of texture, black raffia, white embroideries. Everything is very tactile,” Kors explained. “It’s all the colors that you would find in the Mediterranean. So all of the natural colors have very soft browns and creams. And then of course, there’s going to be blue.”

The brand’s craftsmanship was on display with intricate peekaboo lace dresses and skirts and several dresses, skirts and coats adorned with flower appliqué. Accessories stood out in the collection with leather handbags, hats and shoes teeming with black raffia that looked like leather straw. The ever-present trench coat appeared for men and women on the runway, mostly oversized and slouchy, AP noted.  


Saudi box office sells 8.5 million tickets in first half of 2024 with two Saudi films in top three

Saudi box office sells 8.5 million tickets in first half of 2024 with two Saudi films in top three
Updated 11 September 2024
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Saudi box office sells 8.5 million tickets in first half of 2024 with two Saudi films in top three

Saudi box office sells 8.5 million tickets in first half of 2024 with two Saudi films in top three

DUBAI: The burgeoning Saudi film industry is going from strength to strength.

On Tuesday, Prince Badr bin Abdullah bin Mohammed bin Farhan Al-Saud, Minister of Culture and Governor of the Royal Commission for AlUla, took to X to reveal that the Saudi box office has made SAR 421.8 million ($112,410,096) in the first half of 2024, adding that two of the three leading films were Saudi-produced. He did not reveal the names of the two films.

“Saudi box office sales have reached 8.5 million tickets with revenues exceeding 421.8m SAR during the first half of 2024. Two of the best-selling films amongst the top 3 are Saudi #SaudiVision20230,” he wrote.

Saudi Arabia’s cinema scene has been booming since lifting its 35-year ban in 2018. With 66 theaters across 22 cities and box office sales reaching $919 million in 2023 (up 25% from 2022), the industry is growing at a rapid pace.

While Hollywood films like Christopher Nolan’s “Oppenheimer” and Tom Cruise-starring “Mission: Impossible – Dead Reckoning” have contributed to ticket sales, Saudi films have also been making a mark.

Saudi filmmaker Ali Kalthami’s Riyadh-based thriller “Mandoob” (“Night Courier”) has been a success since it was released at the beginning of 2024, soaring to the top of the Saudi box office following its screening at the Red Sea Film Festival in Jeddah. The film tells the story of Fahad, who, after getting fired from a call centre, takes a job as a night courier who illegally sells alcohol in order to save his ailing father.

“Sattar,” the Saudi Arabian family comedy about a depressed man who follows his dreams of becoming a freestyle wrestling champion, smashed box office records last year, earning $2.2 million over its first 12 days, instantly making it the highest-grossing Saudi movie of all time, so far.

 


New partnership to conserve AlUla’s cultural heritage

New partnership to conserve AlUla’s cultural heritage
Updated 10 September 2024
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New partnership to conserve AlUla’s cultural heritage

New partnership to conserve AlUla’s cultural heritage
  • National Archives will work with the commission in four broad areas: training and scientific exchange, archival research, public programming, and digitization
  • Abeer Al-Akel: Our partnership with the National Archives exemplifies the power of international collaboration

JEDDAH: The Royal Commission for AlUla has signed a partnership agreement with the UK National Archives in line with the commission’s goals of cultural heritage preservation, international collaboration, and contribution to Vision 2030.

Through its expertise in archival management and historical documentation, the National Archives will work with the commission in four broad areas: training and scientific exchange, archival research, public programming, and digitization. Specific initiatives will focus on joint research projects, digital archive initiatives, and cultural exhibitions.

Abeer Al-Akel, acting CEO of the commission, said: “RCU’s campaign of comprehensive regeneration is transforming AlUla into a global hub for heritage and culture — and an extraordinary location for residents and visitors. Our commitment to conservation supports Vision 2030’s goal of promoting Saudi culture through initiatives that are ‘powered by the past, reimagined for the future.’

“Our partnership with the National Archives exemplifies the power of international collaboration, combining expertise and resources from Saudi Arabia and the UK to enhance cultural heritage research and public programming.”

Saul Nasse, chief executive and keeper of the National Archives, said: “Working with the Royal Commission for AlUla is an opportunity to share our pioneering work in documenting and safeguarding heritage. RCU has an ambitious strategy to preserve the rich stories of northwest Arabia, and we look forward to contributing our insights and experience.”

Through this collaboration, RCU and the National Archives aim to enhance the visibility of Saudi documentary heritage and strengthen the capacity of local archives to provide wide access to these invaluable resources, further solidifying AlUla’s position as a global hub for cultural preservation and exploration.


Tory Burch taps Loli Bahia for New York show

Tory Burch taps Loli Bahia for New York show
Updated 10 September 2024
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Tory Burch taps Loli Bahia for New York show

Tory Burch taps Loli Bahia for New York show

DUBAI: American designer Tory Burch unveiled a collection imbued with the spirit of sport — but without venturing into sportswear — at New York Fashion Week this week, with French Algerian model Loli Bahia walking the runway.

Freedom and movement were reflected in loose-fitting wool pants and wrap dresses, while power shone through in the assembly of different pieces, fabrics and cuts on the models marching down the catwalk, AFP reported.

Bahia showcased one of these looks, donning a sleek, structured black ensemble with asymmetrical cuts and overlapping panels that gave it a modern, deconstructed feel. The top had a wrap-like structure with subtle ties on the front, while the skirt featured a high slit. 

Bahia donned a sleek, structured black ensemble with asymmetrical cuts and overlapping panels that gave it a modern, deconstructed feel. (Getty Images)

The outfit, from the Spring/Summer 2025 collection, was completed with bold, oversized statement earrings and classic black peep-toe heels.

Bahia was joined by Mona Tougaard, who has Danish, Turkish, Somali and Ethiopian ancestry. 

Tougaard graced the runway wearing a sleeveless, cropped black top with a V-neckline, paired with a voluminous, flowy white skirt that had a layered, ruffled design. The skirt featured delicate draping and soft pleats. She wore neutral-tone open-toe heels and had her slicked-back. 

Tougaard graced the runway wearing a sleeveless, cropped black top with a V-neckline, paired with a voluminous, flowy white skirt that had a layered, ruffled design. (Getty Images)

Other standout looks from the show included an ensemble of ultra-light suede pants with a rope belt and a skin-tight sweater patterned in red and white.

A transparent white jersey shirt with ruffles and overly long sleeves was paired with its formal counterpart, brown wool pants.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by TORY BURCH (@toryburch)

With this collection, the Pennsylvania native broke from the style that made her famous, a combination of preppy New England with a touch of the bohemian.

“It’s more about the spirit and the essence of sport,” Burch, whose shows have become a staple of New York Fashion Week, told AFP.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by TORY BURCH (@toryburch)

That means it is about “movement, about freedom, precision” as a starting point, she explained, adding: “The word ‘synchronicity’ was something I thought about.”

 “I wanted to be careful with not having too many different prints, but I wanted it to come across in some textures and the fabrics and the color,” Burch, who this year celebrated the 20th anniversary of her eponymous fashion house, said.


REVIEW: ‘Beetlejuice Beetlejuice’ can’t hold a candle to the 1988 original  

REVIEW: ‘Beetlejuice Beetlejuice’ can’t hold a candle to the 1988 original  
Updated 10 September 2024
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REVIEW: ‘Beetlejuice Beetlejuice’ can’t hold a candle to the 1988 original  

REVIEW: ‘Beetlejuice Beetlejuice’ can’t hold a candle to the 1988 original  

CHENNAI: Often it needs just a single work for a director to emerge out of the shadows and shine. For Tim Burton that happened in 1988 with “Beetlejuice,” a camp horror that straddled the line between comedy and the macabre.

It was a turning point for the 26-year-old director who shot straight to the big leagues and returned to the now-concluded Venice Film Festival with the sequel, “Beetlejuice Beetlejuice,” in September.

With headlining names like Michael Keaton, Winona Ryder and Jenna Ortega, one of the sequel's first scenes shows Italian icon Monica Bellucci as Delores the ghost all cut into pieces lying in several boxes. She begins to pin herself together with a stapler and proceeds to suck the souls of dead men and women, all set to a soundtrack of “Tragedy” by the Bee Gees. Gory but fun — and very on brand for Tim Burton.

The movie begins in a clumsy manner with the characters being arranged in what felt like a chess game, with the key pieces spread out. The sequel follows Winona Ryder's Lydia Deetz, the former goth teen who is now a psychic mediator with her own paranormal television show.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by Jenna Ortega (@jennaortega)

Deetz’s supernatural abilities are brushed off by her daughter, Astrid (Ortega), who believes her mother’s visions are pure delusion and soon enough Catherine O’Hara returns to her role as Lydia’s narcissistic artist stepmother.

Keaton reprises his part as the titular ghost, but he was far more eccentric and engaging in the first film — his performance here feels like a watered-down version of what we saw earlier.

This largely sum up what seems to be the point of the film — a nostalgia-fuelled look-back at a high-camp horror for Burton fans to enjoy during the Halloween season.

Unfortunately, the movie feels lethargic, dispirited and soulless. Far from the 1988 work that was peppy and praiseworthy.