Tunisian short at RSIFF explores ‘universal desire for freedom of movement’ 

Tunisian short at RSIFF explores ‘universal desire for freedom of movement’ 
Inspired by a verse in the Qur’an — verse six of Surah Az-Zumar — the film’s title symbolizes the many challenges that its protagonist faces in his quest to obtain a visa to stay in France.  (Supplied)
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Updated 08 December 2024
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Tunisian short at RSIFF explores ‘universal desire for freedom of movement’ 

Tunisian short at RSIFF explores ‘universal desire for freedom of movement’ 

DUBAI: Sparked by real-life events, the Tunisian short film, “In Three Layers of Darkness,” explores the experience of many immigrants traveling to the Western hemisphere.

Director Houcem Slouli told Arab News that his film, now playing at Jeddah’s Red Sea International Film Festival, critiques the “dehumanizing aspects of bureaucratic systems.”

“Last year, a Tunisian filmmaker had her first short film selected for a festival in France, but her visa was repeatedly denied, despite having all the necessary documents,” he said. He was referring to the case of filmmaker Wafa Lazhari, who was unable to attend the International Animation Film Festival in Annecy, France.

 

 

Outraged by this, Slouli sought to take the issue to the silver screen in his 15-minute film that features dialogue in French and Arabic. The director cast actors Ghassen Trabelsi, Mohamed Kolsi, Leila Masrouhi, Sinda Boudriga, Azza Medimegh, Nessrin Bani and Slim Dhib in the short.

“The film addresses themes such as immigration, bureaucratic injustice, dreams and ambition. A dream without borders, with no geographical limits,” the filmmaker explained, adding: “Through the character of Ghassen, we see someone defending his skills and his dreams, fighting for a fundamental right — the right to move freely in the world … unfortunately, for years, Arabs and Africans have not had this freedom and this blocks their ambitions and their dreams.”

Inspired by a verse in the Qur’an — verse six of Surah Az-Zumar — the film’s title symbolizes the many challenges that its protagonist faces in his quest to obtain a visa to stay in France. 

“The three layers represent personal, bureaucratic and social obstacles that trap him in a system,” Slouli said. Meanwhile, the Qur’anic verse is interpreted to mean layers within a mother’s womb.

From a malfunctioning parking ticket machine that makes him late for his interview to an invasive health inspection and an unfeeling immigration officer, the narrative presents its lead character with various obstacles.

Slouli hopes that portraying these hurdles will encourage a shift in thinking.

“I hope decision-makers will think about this universal desire for freedom of movement and about human rights that should be available to everyone, no matter their nationality or status,” he said.

He is particularly keen to take the story to the shores of the Red Sea, as “it’s also a chance to share Ghassen’s story with an Arab audience that understands the struggles related to migration and achieving dreams,” Slouli said.

It is not Slouli’s first experience at an international festival — in 2023, his short film “Conditional Desire” won the Best Short Film Award at Turkiye’s Accessible Film Festival. It was also featured as part of the Short Film Competition of the Silicon Valley African Film Festival in the US.




That varied experience seems to have been handy when it comes to collaborating with the cast and crew on any given project, something that he says is his favorite part of the process. (Supplied)

Born in Tunisia in 1994, Slouli completed a degree in film and audiovisual studies at the Higher Institute of Arts and Multimedia in Manouba, Tunisia, before working with notable Tunisian production firms such as Nomadis Images, Artistes Producteurs Associes and Instinct Bleu Films, in addition to ad-hoc projects working as an assistant director and casting director.

That varied experience seems to have been handy when it comes to collaborating with the cast and crew on any given project, something that he says is his favorite part of the process.  

“Of course, sometimes the discussions lead to conflicts, but there’s also real pleasure in these moments. They give life to the collaboration,” he said.

“It’s amazing to see how ideas come to life with the help of the production team, the actors, the director of photography, and everyone involved in the project. Cinema has this unique ability to capture human experiences and present them in a way that speaks to everyone.”

 


Shanina Shaik turns heads in Melbourne

Shanina Shaik turns heads in Melbourne
Updated 55 sec ago
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Shanina Shaik turns heads in Melbourne

Shanina Shaik turns heads in Melbourne

DUBAI: Part-Arab model Shanina Shaik turned heads in sculptural bubble dress at the National Gallery of Victoria Gala this weekend in Melbourne, Australia.

The Australia-born model — who is of Saudi, Pakistani and Lithuanian descent — made headlines for her unique dress, which she showed off at the opening of the gallery’s landmark Yayoi Kusama exhibition.

The tartan gown was created by emerging Melbourne-based designer Jarrod Reid. It featured puffed sleeves, eyelets down the front, and what looked like two inflated rings on top of each other at the hem.

The model told Mercedes-Benz in a video clip that the gown was “inspired by Scottish folklore.”

Featuring 200 works and spanning the 80-year career of the iconic Japanese artist, the exhibition includes sculpture, painting, collage, fashion and films, as well as the global premiere of Kusama’s new infinity mirror room artwork titled “My Heart is Filled to the Brim with Sparkling Light.”

The exhibition also includes the Australian debut of “Dancing Pumpkin,” 2020, a five-meter-tall yellow-and-black polka-dotted sculpture.

“Do you mind if I brag?” Wayne Crothers, the NGV’s senior curator of Asian art, told The Guardian in an interview regarding the show’s scale and artworks. While there have been other shows by the artist staged with “about 20 or 30 more works,” this is the biggest ever in terms of scale, the newspaper reported.

The 95-year-old artist is one of the world's most celebrated living creatives — she has her own five-storey gallery in Tokyo and is arguably as recognizable as her work. A giant inflatable sculpture of her was recently perched on the side of Louis Vuitton’s flagship store in Paris.

Shaik told Mercedes-Benz in the sponsored video that she is looking forward to taking her son Zai Adesuyan Matthew, whom she shares with partner Matthew Adesuyan, to the show.

In May, the model took part in her first International Mother’s Day campaign with her toddler, who was born in September 2022.

“Motherhood has changed me in so many ways… it’s definitely created more patience,” Shaik joked in the video campaign that she shared with her 3.4 million followers on Instagram.

“Now that I’m a mother, I would like to say to my mother, ‘I understand.’ I understand the worry, the concern, because you just want to protect your child every day at all costs,” she added.

 


Dua Lipa shows off Amina Muaddi heels in New York

Dua Lipa shows off Amina Muaddi heels in New York
Updated 15 December 2024
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Dua Lipa shows off Amina Muaddi heels in New York

Dua Lipa shows off Amina Muaddi heels in New York

DUBAI: British pop superstar Dua Lipa showed off heels by Jordanian Romanian footwear designer Amina Muaddi in New York in a look put together by celebrity stylist Jahleel Weaver.

A long-time stylist for Rihanna, who collaborated with Muaddi on a Fenty shoe collection in 2020, Weaver opted for the designer’s Ursina Pump for songstress Lipa.

Lipa showed off the heels during an appearance on “The Late Show With Stephen Colbert” that will air on Sunday night in the US.

British pop superstar Dua Lipa showed off heels by Jordanian Romanian footwear designer Amina Muaddi. (Getty Images)

The pop star is currently in the middle of the “Radical Optimism Tour,” which kicked off in Singapore in November before she wrapped the Asian leg of the world tour with a show in Seoul, Korea, on Dec. 5.  

There are 68 shows already on the schedule and Lipa will next head to Australia in March.

For her part, Muaddi is busy promoting her winter season collection. The designer’s latest collection, titled Drop 24/25, launched in October. In early December, she used Instagram to promote winter-friendly shoes including the Veneda stretch boot, the Anok bootie and the Lila slipper.

Since launching her eponymous footwear line in August 2018, Muaddi has attracted a loyal following of celebrities including Gigi Hadid, Kylie Jenner and Hailey Bieber. Her brand, known for its distinctive footwear, bags and jewelry, has quickly become a favorite among the fashion elite.

Since the launch, Muaddi has enjoyed a series of successful events, notably her collaboration with Rihanna’s Fenty collection. Their partnership earned the Collaborator of the Year award at the 34th FN Achievement Awards in 2020.

A year later, Muaddi’s influence and success were further recognized when she was named one of Women’s Wear Daily and Footwear News’ 50 Most Powerful Women.


Dev Patel at the RSIFF: ‘Monkey Man’ is a love letter to India

Dev Patel at the RSIFF: ‘Monkey Man’ is a love letter to India
Updated 16 December 2024
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Dev Patel at the RSIFF: ‘Monkey Man’ is a love letter to India

Dev Patel at the RSIFF: ‘Monkey Man’ is a love letter to India

JEDDAH: British actor Dev Patel has come a long way from his first appearance in hit teen TV drama “Skins,” all the way back in 2007. This year, the BAFTA-winning and Oscar-nominated actor — with an eclectic resume to show for it — graduated to filmmaker status with his directorial debut “Monkey Man,” in which he also stars.

On the sidelines of the Red Sea International Film Festival, Patel revealed that “Monkey Man” was his love letter to India, “the country that’s formed me most personally and professionally.”

 

 

An action revenge film that drew comparisons to the Keanu Reeves-starring “John Wick,” “Monkey Man” follows an anonymous young man (Patel) as he unleashes a campaign of vengeance against the corrupt leaders who murdered his mother — all while wearing a Hanuman (Hindu monkey deity) mask. The film, featuring heavy socio-political commentary about wider systemic issues in India, is still waiting to get a release in the country.

“With all relationships, there’s a push and pull, there’s a love and a hate, and you need to work through things. And part of the process of ‘Monkey Man’ was working through some of the anger and rage I felt, which was also mirrored by my some of my best friends and family members that live there,” Patel told Arab News.

“And one of the topics is, obviously, how religion can be weaponized and how you can mobilize a huge mass of people into a place of anger and conflict. And how it can not only be a deadly weapon, but it can also be a beautiful teacher and a source of empathy and, particularly for an uneducated child, that this iconography can be a huge inspiration,” he said.

 

 

Patel also wanted to use the movie to talk about violence against women in India. According to the latest data from the National Crime Records Bureau, the rate of crimes against women in India (calculated as crimes per 100,000 women) increased by 12.9 percent between 2018 and 2022.

“I knew someone that was actually killed in a horrible act of sexual violence. And I dated Frida (Pinto) when we did ‘Slumdog Millionaire,’ and I spent a lot of time in India. And during the time of the Nirbhaya incident, I’ve never, to this day, felt such rage. And so that was during the kind of birth of what I was writing, there was a lot of rage in there, too,” said Patel, referring to the 2012 Delhi gang rape and murder, commonly known as the Nirbhaya case.

“And then a lot of love came from my best friend Raghu who lives in Mumbai. He taught me about Indian classical music. And I was like, ‘Wow, this, this art form!’ I grew up listening to grime music, like rap and Arctic Monkeys and whatever. And so, to understand about Indian classical music… I was like, ‘OK, I want to write a training montage of this.’ And so there’s a lot of that in there. There’s Indian heavy metal music. There’s like, you know, my love of the auto rickshaw and ‘Batman’ put together in what I call the poor man’s ‘Batman Batmobile.’ It’s in there.”

 

 

Patel described the film also as a Trojan horse to introduce American viewers to “culture and flair,” along with some socio-political messaging.

“I’m a huge lover of action cinema. My first exposure to cinema in general is Bruce Lee, and I think that the seed of watching him in ‘Enter the Dragon’ has been percolating in my mind ever since I was a small boy. And I guess that in the inception of the idea, it was like, ‘How can we get a large audience in America … How can we feed them vegetables without them knowing it?’” he told Arab News.

“So, the film in itself is a sort of Trojan horse of, like, we can access these guys that watch the ‘John Wick’ movies and the action movies and actually give them a heavy dose of culture and flair, and actually some socio-political kind of subjects as well. Make it accessible. And there were a few things that I wanted to get off my chest, which I managed to put in there too,” he added, laughing.

Patel said that he was a “man possessed” during the making of the film, which he shot in the thick of the COVID-19 pandemic.

“It required so much of me, birthing this little weird Gremlin baby movie thing. At times, I was like, ‘Oh, probably, I’m gonna die making this thing.’ It was so tough, and not only emotionally during the time of the pandemic, but physically, what I put myself through? And you’ve got over 500 people in a bubble on an island, and you’re dealing with a lot of humans going through a really rough time in history where we had no certainty of anything, and you’re trying to make a movie. And everything got thrown at me on it. And so, it was kind of life imitating art, in the sense of the movie being an underdog story, and the actual film itself being this unquenchable little flame that kept kind of existing. So, yeah, I’m really proud of it now, in hindsight, now that the dust has settled.”

Now that he has realized his childhood dream of making an action film, what’s next? “There’s quite a few stories that I’m excited to tell, all weird ones. I’ve been working on a creature feature about the immigrant journey via the lens of a beast. I’m working on a rally driving movie in Kenya that we’re developing. We’re doing a film in the Highlands of Scotland. There’s so much on the slate,” he said.


RSIFF 2024: Johnny Depp ‘resonates’ with Modigliani, subject of his latest directorial

Johnny Depp’s ‘Modi Three Days on the Wing of Madness’ is supported through the Red Sea International Film Financing program.
Johnny Depp’s ‘Modi Three Days on the Wing of Madness’ is supported through the Red Sea International Film Financing program.
Updated 14 December 2024
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RSIFF 2024: Johnny Depp ‘resonates’ with Modigliani, subject of his latest directorial

Johnny Depp’s ‘Modi Three Days on the Wing of Madness’ is supported through the Red Sea International Film Financing program.
  • Hollywood superstar directing again after 27 years
  • Praises Red Sea festival for giving artistic ‘freedom’

JEDDAH: After making “The Brave” in 1997, Hollywood star Johnny Depp is stepping behind the camera once again as a director for “Modi, Three Days on the Wing of Madness.”

The movie is about Italian bohemian artist Amedeo Modigliani on 72-hour whirlwind through the streets of Paris during the First World War.

In an engaging roundtable conversation held recently at Sharbatly Cultural House, ahead of the gala screening of his movie at the Red Sea International Film Festival, Depp said: “‘The Brave’ was an unhappy experience.

Depp’s leading actor, Scamarcio, was full of praise for his direction, which he described as free-flowing and respectful. (Supplied)

“But for this film, I have more freedom and I was able to feel free like a giant toddler. Actually, I feel fortunate to be given the opportunity, along with such a great cast and crew.”

Appearing in his signature style, a mix of vintage clothing, layered outfits and accessories, Depp told the journalists in the room that he was first approached about the project by actor Al Pacino.

He recalled Pacino saying: “‘Hey Johnny, do you remember that Modigliani project I was going to do? Why don’t you direct it?’ I never thought that I would ever direct again after 27 years. So, how could I refuse Pacino? For some reason, I said, ‘Why not?’”

When you are in AlUla or around the historical area here in Jeddah, that’s the stuff I want to film. I am really fascinated with Saudi Arabia’s culture and history.

Johnny Depp, ‘Modi’ director

“Definitely, it is a positive experience (making ‘Modi’),” he added.

The movie, which is supported through the Red Sea International Film Financing program, is based on a play by Dennis McIntyre and tells the story of the famous painter and sculptor Modigliani during his time in Paris in 1916.

The cast is led by actors Pacino, Riccardo Scamarcio, Stephen Graham, Antonia Desplat, Bruno Gouery, Ryan McParland and Luisa Ranieri.

Depp’s leading actor, Scamarcio, was full of praise for his direction, which he described as free-flowing and respectful. “It was so great working with Depp and (he) made us act in comfort with no limitations or restrictions,” said Scamarcio.

Asked by Arab News about what attracted him to Modigliani’s story, Depp said: “Modigliani was, of course, one of the great contemporary artists of all time. But he also represented an era and point of view where new possibilities still existed. His vision fascinates me.”

“I admit that everything Modigliani ever stood for, and continues to stand for, resonates deeply within me,” said Depp.

Speaking about his partnership with the Red Sea International Festival, Depp explained: “They have been very supportive and they have the ability to do films and allow the process to be as organic as you can imagine. They really gave me the freedom to do whatever I want,” he said.

He revealed that he has plans to paint with Saudi Arabia’s visual artist Ahmed Mater. “I really admire his work and last time we met in London, and also at his studio in Jeddah, we agreed to do some paintings together.”

He continued: “Listen, I am not a stranger to Saudi Arabia and I really enjoy a great relationship with Saudis. For future plans, I am hoping to capture in my upcoming films the beautiful landscape it has.

“When you are in AlUla or around the historical area here in Jeddah, that’s the stuff I want to film. I am really fascinated with Saudi Arabia’s culture and history.

“In addition, I really admire the warmth of Saudis who I consider a very kind and respectable people.”

 


Behind the scenes of ‘Christian Dior: Designer of Dreams’

Behind the scenes of ‘Christian Dior: Designer of Dreams’
Updated 13 December 2024
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Behind the scenes of ‘Christian Dior: Designer of Dreams’

Behind the scenes of ‘Christian Dior: Designer of Dreams’
  • The French fashion house’s milliner Stephen Jones discusses the Riyadh exhibition

PARIS: The exhibition “Christian Dior: Designer of Dreams” — currently showing at Riyadh’s Saudi National Museum until April — is a tribute to the famed French fashion house’s long-running excellence. British milliner Stephen Jones, one of Dior’s master creators, was heavily involved in the creation of the exhibition.  

Jones’ big break came in 1982, three years after graduating from Saint Martin's School of Art in London. He appeared in the video of UK pop group Culture Club’s hit single, “Do You Really Want To Hurt Me?” wearing a red velvet fez of his own design. This caught the eye of acclaimed French designer Jean Paul Gaultier, who invited Jones to Paris to design the hats for his womenswear collection.  

“I took advantage of his long lunch break to draw like crazy,” Jones told Arab News. “When he came back, he selected 25 of my sketches.” 

Jones’ hats proved a huge success and provided the then-28-year-old designer an entry into the Paris fashion stratosphere. He quickly found himself working with the likes of Thierry Mugler, Claude Montana, Azzedine Alaïa, Rei Kawakubo, and John Galliano.  

It was the latter who intoduced Jones to the Christian Dior team in 1996. Dior is the only fashion house in the world to have an integrated haute mode (hat design) atelier, which Jones has directed for the past 28 years. . During that period, he has worked alongside Galliano (1996 to 2011), Raf Simons (2012 to 2015), Maria Grazia Chiuri (since 2016) and Kim Jones (since 2018).  

“If there's a hat in Dior, I've had a hand in it!” he said with a smile. 

With which of the designers at Dior have you had the most creative affinity? 

I think each designer at Dior has had a completely different process, and a completely different view on hats, so I can’t compare them. For John Galliano, it was part of the storytelling; for Raf Simons it was a mid-century gesture; and for Maria Grazia Chiuri, my brief was to make a hat that every fashionable young girl in the world would want to wear. So, they’re all completely different briefs that cannot be compared. 

 

Was your visit to Riyadh your first time in the Middle East? What were your impressions of Saudi Arabia? 

I worked on the “Christian Dior: Designer of Dreams” exhibition in Doha in 2021. However, the selection of dresses is very different this time. I had been to Saudi Arabia once before, and I think it’s an extraordinary place. The people there are extremely hospitable and kind, and it is, of course, very hot compared to England. Some of the landscapes are extraordinary, especially the desert. I went to the Edge of the World, which is one of the most spectacular places I have ever visited in my life. 

Were there any surprises during the installation of the exhibition, unearthing looks from past collections? 

When we were installing the hats, some of the looks I remembered, some I didn't. But many have never been shown before, so it sometimes feels like I’m seeing them for the first time. I think the ultimate surprise for me was the Desert Beauty room, because there were many looks I had never seen before. Each and every one of them is so full of memories. It’s like asking me, “Tell me about your children.” Each one needs a specific set of skills, which was a story illuminated by the clothes. Each one reflected the designers’ approach to Christian Dior. 

Do you remember every single hat you have designed? 

More or less, yes. And when I remember it, I can really feel it, I can see the thought process behind it, I know the weight of it, the texture of it. 

How many hats have you designed in the course of your career? 

I would say about 100,000, at a conservative estimate. 

Is there a hat in the exhibition that is particularly significant to you? 

Obviously, the Bar suit hat (from Christian Dior’s first collection), because it was one of Dior’s favorite creations, and I continue to be astounded by its modernity. 

Dior wrote in his 1954 “Little Dictionary of Fashion”: “Without hats, there is no civilization.” Would you agree? 

Yes. A hat is transformational. A hat makes all the difference.