Egyptian screenwriter Mariam Naoum to mentor young Saudi female filmmakers 

Egyptian screenwriter Mariam Naoum to mentor young Saudi female filmmakers 
A still from the 2021 series 'Take Care of Zizi,' written by Mariam Naoum. (Supplied)
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Updated 02 August 2024
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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. 


Dubai Fashion Week’s opening night hosts diverse designs

Dubai Fashion Week’s opening night hosts diverse designs
Updated 02 February 2025
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Dubai Fashion Week’s opening night hosts diverse designs

Dubai Fashion Week’s opening night hosts diverse designs

DUBAI: Set to run until Feb. 6, the opening night of Dubai Fashion Week saw designers show off their Autumn/Winter 2025-26 collections in the city on Saturday.  

The opening night’s line-up included an ode to Paris by Manel, founded by Dubai-based designer Manel Aboudaoud; a tribute to batik craftsmanship by Indonesian brand Toton; and a nod to Moscow and the Silk Road by Dubai-based Filipino designer Angelo Estera.  

From flowing gowns to structured silhouettes, Iraqi designer Zaki presented a collection marked by subdued, elegant hues. Zaki — who has dressed celebrities including Kris Jenner, Ciara and Tyra Banks — created a number of ombre gowns for her latest line, which also included metallic evening wear amid nude-colored looks. Rouching was seen in many of the figure-hugging gowns, with a creamy beige menswear look turning heads on the runway.

Iraqi designer Zeena Zaki presented a collection marked by subdued, elegant hues. (Supplied)

Meanwhile, Toton Januar collaborated with batik artisans from Tuban and Cirebon, Indonesia, for a collection that combined traditional artistry with upcycled fabrics and innovative use of materials such as paper clay.

Toton Januar collaborated with batik artisans from Tuban and Cirebon, Indonesia. (Supplied)

Aboudaoud made a winning debut at Dubai Fashion Week with the “Paris Day to Night” collection, a tribute to her Parisian upbringing and Arab roots. The collection combined elegant tailoring, luxurious fabrics, and versatile designs that can transition from day to night. The colour palette drew inspiration from Parisian winters, blending earthy tones with opulent hues. Textured velvet, jacquard, Chantilly lace, and satin were employed across the collection to create a refined, yet wearable line.  

Manel Aboudaoud made a winning debut at Dubai Fashion Week with the “Paris Day to Night” collection. (Supplied)

For his part, Estera fused traditional Russian elements with Eastern influences in a show inspired by the ancient trade routes connecting the East and West.  The Autumn/Winter 2025-26 collection featured a rich colour palette of red, black, and gold, representing luck, mystery, and cultural prosperity, according to the show notes.   

Angelo Estera fused traditional Russian elements with Eastern influences. (Supplied)

 


1-54 Contemporary African Art Fair returns to Marrakech for sixth edition

1-54 Contemporary African Art Fair returns to Marrakech for sixth edition
Updated 01 February 2025
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1-54 Contemporary African Art Fair returns to Marrakech for sixth edition

1-54 Contemporary African Art Fair returns to Marrakech for sixth edition
  • 30 exhibitors include galleries from Africa, Europe, India and for the first time, the Gulf

MARRAKECH: The sixth edition of the 1-54 Contemporary African Art Fair has returned to the opulent La Mamounia Hotel bringing together collectors and art aficionados from across Africa, the Middle East and Europe.

The smallest of the 1-54 fairs — which are also held in London and New York — the Marrakech edition, which opened on Jan. 30, presents a more intimate, upscale experience.

There is a great focus on establishing connections between the Marrakech art scene and greater Africa and its diaspora, the Middle East and Europe.

1-54 Marrakech 2025. (Courtesy Mohamed Lakhda)

Running until Feb. 2, the event is being held at both the La Mamounia Hotel and multidisciplinary art space DaDa, located within the famous bustling Jemaa El-Fnaa square and marketplace in the city’s Medina quarter.

The latter highlights predominantly art concepts from across Morocco whereas within the lavish halls of La Mamounia, both international and Moroccan galleries present works by local African and international artists.

“In this edition, there is a very good balance between African, international and local Moroccan galleries,” fair director and founder Touria El Glaoui, the daughter of the late celebrated Moroccan modernist painter Hassan El Glaoui, told Arab News.

1-54 Marrakech 2025. (Courtesy Mohamed Lakhda)

“This year presents 14 galleries from Africa … in addition to a gallery from Kuwait City, Tokyo, two galleries from Milan, and the Kalhath Foundation from Mumbai, India, presenting Moroccan artist Amina Benbouchta.”

Newcomers this year include Milan-based C+N Gallery CANEPANERI; space Un from Tokyo, Japan; and GALERIE FARAH FAKHRI from Abidjan, Cote d’Ivoire.

Also represented for the first time will be Galerie Medina from Bamako, Mali; Hunna Art from Kuwait City, Kuwait; Le Violon Bleu Gallery from Sidi Bou Said in Tunis, Tunisia; and Rabat-based Abla Ababou Galerie.

1-54 Marrakech 2025. (Courtesy Mohamed Lakhda)

On view at Le Violon Bleu from Tunisia are also paintings by Hassan El Glaoui. The display marks the first time the artist’s works are exhibited at the fair. 

The Gulf is represented this year through the debuting Hunna Art from Kuwait City.

In addition, a talk, titled “AlUla a New Laboratory for Contemporary Art,” will be delivered by French curator Arnaud Morand who has staged exhibitions and residencies for several years in the ancient Saudi Arabia desert region.

1-54 Marrakech 2025. (Courtesy Mohamed Lakhda)

Also from the Gulf will be a special performance titled “Le Miroir (Acte I)” by renowned artist Miles Greenberg, to be staged at the historic El-Badi Palace, commissioned by ICD Brookfield Place Arts Program in Dubai.

Since its launch in Morocco in 2018, 1-54 has grown into a global event bringing collectors, major art institutions and artists from across the world to Morocco.

The fair, as El Glaoui noted, is also building on Marrakech’s rich cultural and art scene which has been expanding over the years. Of note this year is the reopening of the Museum of African Contemporary Art Al-Maaden alongside numerous exhibitions and museum shows and performances.

“Marrakech has a strategic geographic location serving as a meeting point for audiences from the Middle East, Africa and the rest of the world,” said El Glaoui.

“Morocco has a vibrant art scene that has significantly grown over the years. I think between its auction houses, museums, private foundations and the various galleries we have in each city, it has become an important international contender for modern and contemporary art.”


Nadhim Zahawi reflects on his journey from Baghdad to Britain at Dubai literature festival

Nadhim Zahawi reflects on his journey from Baghdad to Britain at Dubai literature festival
Updated 31 January 2025
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Nadhim Zahawi reflects on his journey from Baghdad to Britain at Dubai literature festival

Nadhim Zahawi reflects on his journey from Baghdad to Britain at Dubai literature festival
  • Zahawi, who is a chemical engineer by background, recounted to the audience how he fled Iraq for the UK at the age of 11
  • Zahawi’s father fled to the UK first, and a few months later, Zahawi, his mother and sister joined him there, seeking refuge

DUBAI: Iraqi-born British former politician Nadhim Zahawi took the stage on Friday for a conversation moderated by Faisal J. Abbas, editor-in-chief of Arab News, during the 17th Emirates Airline Festival of Literature at the InterContinental Dubai Festival City.
The talk, “Nadhim Zahawi: The Boy From Baghdad,” shared its name with his book, in which Zahawi reflected on his journey from Baghdad to Britain, his career in business and politics, and the challenges of identity and belonging.
Zahawi, who is a chemical engineer by background, recounted to the audience how he fled Iraq for the UK at the age of 11, after his family was forced to escape their home under threat from Saddam Hussein’s regime.
He said: “At that age, you remember quite vividly, especially traumatic events … I really remember, one Sunday lunch at my aunt’s home, whose husband broke the news to my father that they’re going to come and get him tomorrow morning. Literally all he had was hours to get out of the country.”
“He packed a small bag, he wrote on the wall in our home: ‘My name is Hareth Al-Zahawi’ and a verse from the Qur’an, and that one day he will come back and see his home,” he recalled.
“We went to the airport with him; myself, my older sister and my mother. I remember vividly, the Baghdad International Airport … had a viewing platform, where in the late ’70s you would see the aircraft. There weren’t these sophisticated arms that come out. You had to walk to the plane and they put the steps up. We watched him go up the steps and we had to sort of pretend to say goodbye as if he was going on holiday because you don’t know who is watching you at the airport.”


Just before the flight took off, Zahawi recalled, an army truck sped up to the plane, and he and his family feared that his father would be taken off the flight and arrested. However, the soldiers escorted someone else instead. Zahawi later learned from his father that the person removed was seated directly in front of him.
Zahawi’s father fled to the UK first, and a few months later, Zahawi, his mother and sister joined him there, seeking refuge. He shared how these formative experiences shaped his perspective and ambitions.
He then spoke about how refugees are not necessarily a burden on society and why he refuses to call himself a political refugee.
“I sometimes feel uncomfortable when I am introduced as a refugee to the United Kingdom. What I try to say is that we are actually first-generation immigrants to the UK,” he said.
He added that this label makes him feel like an “imposter” because most people’s vision or stereotype of a refugee is someone who may have come from a less privileged background than he did.
Transitioning to his professional journey, Zahawi discussed his ventures in international business. He also provided insights into his political career, shedding light on the policies and individuals that have significantly impacted the UK’s landscape.
Zahawi said that he got into politics by accident, as he had almost no political interest growing up. “I wanted to become a show jumper,” he said, recalling how he once tried to convince his father to invest in a riding school. His father dismissed the idea, telling him, “Well, you go into university, make your own money, and then you can go to a riding school.”
It was not until his first week at University College London that an unexpected encounter shifted his perspective. At the Freshers’ Fair, he was confronted by a Socialist Workers Party member handing out magazines. “I promise you that all I did was politely say, ‘No, thank you’ — not because I didn’t respect socialism, but because I wasn’t interested in politics … He was so aggressive, saying, ‘People of your color, you should be ashamed of yourself.’”
Instead of reacting with anger, Zahawi decided to explore his viewpoint.
“I remember in 1979 or 1980, my mother saying to me: ‘Son, a grocer’s daughter has just become prime minister. You can do anything in this country.’ And she was right,” he added.
Throughout the talk, themes of identity and belonging were prominent, as Zahawi reflected on navigating life between two cultures and the evolution of his adoptive homeland, Britain.
He praised the UK’s political system for offering opportunities regardless of background, contrasting it with the US.
“I can’t name any other country that has got to this level of achievement. In America, politicians will choose particular districts where they have a large ethnic group that may be beneficial to their background,” he said.
Zahawi highlighted his own experience as an example, recalling how he was selected as a Conservative candidate despite coming from an immigrant background. “I was selected in Stratford-on-Avon in a room full of Conservative members, pretty much white. The seat is 97 percent white, affluent middle-class, farming community. This is the birth and resting place of William Shakespeare, yet they selected Nadhim Zahawi, a boy from Baghdad, as their champion, their candidate.”
He emphasized how his political success reflected the country’s openness to diversity. “They voted him in the 2010 election, and then voted him back four times after that with increased majorities. That is a country that, in my view, is truly colorblind,” Zahawi said.
He also discussed identity: “I think in many ways I am a proud Brit of Kurdish background. I am very proud of my Kurdish roots. But, ultimately, the country that has defined my life, that has given me my opportunity in life, is the United Kingdom,” he said.


Saudi-helmed Ashi Studio unveils sculptural silhouettes, intricate embroidery at Paris Haute Couture Week

Saudi-helmed Ashi Studio unveils sculptural silhouettes, intricate embroidery at Paris Haute Couture Week
Updated 31 January 2025
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Saudi-helmed Ashi Studio unveils sculptural silhouettes, intricate embroidery at Paris Haute Couture Week

Saudi-helmed Ashi Studio unveils sculptural silhouettes, intricate embroidery at Paris Haute Couture Week
  • Couturier’s designs been worn by Queen Rania of Jordan, Beyonce
  • First designer from region to join Federation de la Haute Couture

DUBAI: Paris-based label Ashi Studio, founded by Saudi Arabia designer Mohammed Ashi, presented its Spring/Summer 2025 couture collection on Thursday during Paris Haute Couture Week, featuring sculptural silhouettes, intricate embroidery, and detailed craftsmanship.

The collection has a range of designs that incorporate voluminous structures, textural contrasts and embellishments.

Look 14. (Instagram)

Several looks emphasize architectural shapes, including a voluminous ivory skirt paired with an embroidered cropped jacket in shades of blue, adorned with floral beading and gold detailing.

Other designs include structured corseted gowns with sheer lace panels and sculpted sleeves.

Look 13. (Instagram)

The collection also features darker tones, with black and gold embroidery on form-fitting dresses. Strapless gowns include intricate hand embroidery with landscape motifs.

Metallic fringe elements and shimmering embellishments contribute to the textural variation within the lineup.

Look 9. (Instagram)

Alongside heavily adorned pieces, the collection includes streamlined silhouettes, such as a deep burgundy velvet strapless gown and a turquoise column dress with matching gloves.

Ashi became the first couturier from the region to join the Federation de la Haute Couture in Paris as a guest member in 2023.

The couturier’s designs have been worn by celebrities including Beyonce, Lady Gaga, Jennifer Hudson, Kylie Minogue, Penelope Cruz, Deepika Padukone, Sonam Kapoor, and Queen Rania of Jordan.


Saudi artist Muhannad Shono to take part in California’s 2025 Desert X

Saudi artist Muhannad Shono to take part in California’s 2025 Desert X
Updated 31 January 2025
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Saudi artist Muhannad Shono to take part in California’s 2025 Desert X

Saudi artist Muhannad Shono to take part in California’s 2025 Desert X

DUBAI: Saudi artist Muhannad Shono has been selected to take part in the fifth edition of Desert X, the international site-specific art exhibition which will take place across California’s Coachella Valley from March 8 to May 11.

Produced by non-profit organization The Desert Biennial, the event will feature artistic talent from across Asia, Europe, the Americas and the Middle East.

Shono’s work, “What Remains,” explores the ever-changing nature of identity and land. (Supplied)

Curated by artistic director Neville Wakefield and co-curator Kaitlin Garcia-Maestas, the 2025 iteration will feature themes of temporality and nonlinear narratives of desert time.

Shono’s work, “What Remains,” explores the ever-changing nature of identity and land. The piece features long strips of fabric infused with native sand, allowing them to move freely with the wind. As the wind shifts, the fabric twists and reshapes while the sand forms dunes.

Muhannad Shono, "On this Sacred Day." (Supplied)

“The land of Desert X is no longer the mythical and endless expanses of the American West but has come to include the effects of our ever-growing human presence,” said Wakefield.

“Artists continue to be inspired by the idea of unadulterated nature but … they have also come to recognize that this is an idea and that the realities of the world we live in now are both more complex and contested. Time, light and space permeate every aspect of this work but so too does an urgency to find new sustainable approaches to living in an increasingly imperiled world.”

Desert X, California. (Supplied)

The full list of participating artists is as follows: Sanford Biggers, Los Angeles, California; Jose Davila, Guadalajara, Mexico; Agnes Denes, Budapest, Hungary; Cannupa Hanska Luger, Mandan, Hidatsa, Arikara and Lakota, b. Standing Rock Reservation, North Dakota, based in Glorieta, New Mexico; Raphael Hefti, Neuchatel, Switzerland; Kimsooja, Daegu, Korea; Kapwani Kiwanga, Hamilton, Canada; Sarah Meyohas, New York; Ronald Rael, Conejos Country, US; Alison Saar, Los Angeles, California; Muhannad Shono, Riyadh, Saudi Arabia.