Saudi-supported film ‘Dandelion’s Odyssey’ heads to Cannes Critics’ Week
Saudi-supported film ‘Dandelion’s Odyssey’ heads to Cannes Critics’ Week/node/2597087/lifestyle
Saudi-supported film ‘Dandelion’s Odyssey’ heads to Cannes Critics’ Week
A scene from ‘Dandelion’s Odyssey.’ (Supplied)
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Updated 15 April 2025
Arab News
Saudi-supported film ‘Dandelion’s Odyssey’ heads to Cannes Critics’ Week
Updated 15 April 2025
Arab News
DUBAI: Cannes Critics’ Week has announced the lineup for its 2025 edition, which includes the Red Sea Film Foundation-supported film “Dandelion’s Odyssey” from Momoko Seto.
The film — which will close the week — will be the first animated feature to screen in the section since Jeremy Clapin’s Grand Prize winner “I Lost My Body” in 2019.
Shot from Japan to Iceland, “Dandelion’s Odyssey” is an adventure set in a dystopian world, with plants and animals as the main characters. The feature features a mix of timelapse photography, as well as live-action shooting and 3D animation.
More than 1,000 films were submitted for Cannes Critics’ Week 2025, which runs from May 14 to 22.
Emirati fashion designer Shatha Essa on blending local heritage with global appeal
‘My roots are central to everything I create,’ says Shatha Essa
Updated 26 September 2025
Hams Saleh
DUBAI: Since launching her womenswear label in 2017, Emirati designer Shatha Essa has steadily carved out a name for herself in the world of luxury fashion with a brand that honors tradition while embracing modern elegance.
“My journey began with a deep-rooted passion for storytelling through fabric. Growing up in the UAE, style and tradition were seamlessly interwoven in daily life, family gatherings, national celebrations… even school uniforms carried meaning,” Essa tells Arab News.
A “defining moment” in her fashion journey, she says, was when she met the late Italian journalist Franca Sozzani, who was editor of Vogue Italia for 28 years.
Shatha Essa launched her brand in 2017. (Supplied)
“Seeing how people react to fashion creations confirmed that design could be a powerful language,” she says. “That moment solidified my dream of becoming a designer.”
Earlier influences came from those closest to home. “Initially, it was my mother and local artisans who practiced traditional Emirati embroidery and tailoring who served as my inspiration,” she says. And before launching her label, Essa gained insight into the industry from working at Dubai Mall — “where I saw and met different fashion houses and got to see everything happening behind the scenes,” she explains. “These experiences taught me how to balance creative vision with reality.”
Essa says she took three major lessons away from her formative years in fashion. “If you come from a design background, make sure you study business and have a bit of knowledge on finance and accounting before starting your business,” is the first. “That will help you with your strategies and long-term goals as well.
Selections from the latest collection by Shatha Essa Kids. (Supplied)
Adaptability is the second. “Working with suppliers, manufacturing teams, and clients from different backgrounds demands flexibility,” she says.
And the final thing? “Brand discipline and understanding that consistency in story, values, and quality is just as important as the designs themselves.”
Essa launched her womenswear line with, as she puts it, “a calling to articulate contemporary Emirati femininity in a way that celebrated heritage while embracing modernity.” Her vision from the start was to offer “thoughtfully crafted pieces that empower women through elegant tailoring, subtle storytelling, and cultural resonance.”
Her inspiration comes from all over — including urban architecture, and traditional crafts such as sadu weaving and pearl embroidery. She also says she finds beauty in “the patterns of light in the souk at sunset or the silhouette of a gahwa cup handle,” and enjoys “translating cultural motifs into modern shapes and textures.”
For the current season, Essa says her team is “exploring Emirati breeze blocks in a different way.” She explains: “We are not only looking at the shape of a breeze block, but also the air circulation, love and energy it creates.”
But at the core of every piece she designs is her heritage. “My Emirati roots are central to everything I create,” she says, adding that she draws on “traditional aesthetics, modest cuts, flowing lines, desert-driven palette” and reframes them “for the contemporary wardrobe.”
Essa’s international profile continues to grow. In July 2024, Shatha Essa Kids became the first childrenswear label from the UAE to be launched at luxury London department store Harrods.
“Being stocked at Harrods is a thrilling milestone. It’s recognition on a global stage. It means our artisan heritage and design philosophy is being celebrated internationally,” she says. “It’s validation not just for me but for the artisans and the Emirati narrative we’re sharing.”
The partnership, she adds, has “elevated the brand’s visibility, attracted international clientele, and inspired confidence in entering new markets.”
Aside from Harrods and the UAE, Essa also sees as a key part of her brand’s journey.
“ is incredibly important,” she says. “It’s a vibrant market with a growing appetite for high-quality, culturally resonant fashion.” Saudi clients, she notes, have “a strong preference for stylish, bold, and out-of-the-box silhouettes; rich textures; and deep, saturated tones,” while in the UAE, “lighter palettes and classic statement cuts” are in favor.
“Both markets value craftsmanship, but their aesthetic sensibilities diverge in tone and expression,” Essa adds.
The Kingdom is a major focus for her expansion plans, which include pop-ups and retail collaborations.
“We’re exploring partnerships with local boutiques and lifestyle brands, and envision a curated retail presence that brings our women’s and kids collections to new audiences in Saudi,” she says.
At the same time, the brand continues to grow internationally, having recently signed with the major online fashion retailer Net-a-Porter.
Asked what her advice to aspiring designers would be, Essa offers the following: “Start with your roots and own your story, and let that guide your vision. Learn all parts of the business from pattern-cutting to supply-chain management. Be patient and persistent. Building a brand takes time, resilience, and adaptability.”
Review: Leonardo DiCaprio gives a career-defining performance in ‘One Battle After Another’
Updated 26 September 2025
Shyama Krishna Kumar
DUBAI: The revolution may not be televised, but it sure makes for compelling cinema. Paul Thomas Anderson’s “One Battle After Another” is a sociopolitical event so in tune with the current political climate that its opening scene (set against the backdrop of an immigrant detention center) could be mistaken for the news.
The story arcs across two timelines: Bob Ferguson (Leonardo DiCaprio), a once-radical guerrilla turned single dad and drug-addled recluse, must confront a returning threat when his daughter Willa (Chase Infiniti) is hunted by his old enemy Colonel Steven J. Lockjaw (Sean Penn).
DiCaprio’s performance is revelatory. We see him on both sides of a 16-year time jump and he juggles his naïve idealism (and later disillusionment) with moments of quiet emotional weight and urgency as he morphs into a father out of his depth with practiced ease. His comic timing remains sharp as ever. A scene where he has to manically argue with a former revolutionary colleague over the phone as he begs for the coordinates to his daughter even as the latter demads old passcodes that he’s forgotten elicited huge laughs.
Alongside DiCaprio’s possible career-best turn, Penn is equally impressive as the hateful Lockjaw, who’s about to be initiated into a group of wealthy, powerful White nationalists (drawn in broad strokes, but no less real for that). Before that, though, an old error needs correcting, and he will stop at nothing to do it. Lockjaw is evil through and through, and yet, in the film’s closing minutes, you come to truly feel for him, thanks to Penn’s stunning performance.
And in her breakout big-screen role, Infiniti more than holds her own opposite DiCaprio, Penn, and other major names including Regina Hall, Teyana Taylor and Benicio del Toro, all of whom contribute tonal grounding to the narrative’s grand ambitions.
As for Anderson, the filmmaker’s tight control over tone is the film’s greatest feat. He flits between absurdist satire, brutal action, and intimate family drama with a confidence few others can muster.
In short, “One Battle After Another” is not just a movie about revolution; it is a cinematic revolution. Its swagger, intelligence and emotional pulse make it much more than awards bait; it’s a film that should reverberate for years.
New Riyadh exhibition illustrates Islamic history through coins
‘Minted Narratives’ runs until Dec. 16 at ’s National Museum
Updated 26 September 2025
Nada Alturki
RIYADH: “This whole exhibition is about showing the power of Islamic coins and explaining the message that they bring to society,” says Dr. Alain Baron, founder of Numismatica Genevensis SA. “They are the most complete source of information in history, as you can have, on some coins, the names of viziers, personalities, and historical figures that would never be known if it were not for the coins.”
Baron is talking to Arab News about “Minted Narratives: ’s Legacy in Coins,” an exhibition running at Riyadh’s National Museum until Dec. 16.
Baron co-curated the exhibition with Dr. Naif Al-Sharaan, an expert in Islamic numismatic history. Many of the pieces on display come from Baron’s extensive personal collection, alongside selections from the Ministry of Culture’s holdings.
Part of the show's 'Treasures and Coins of ' section. (Supplied)
“This exhibition is very important because it (features) the largest collection of coins ever struck on Saudi ground — coins struck in Makkah and Madinah that have been collected in Europe and America for decades,” Baron explains. “And this is the first time that these coins have been unveiled to the public on this scale.”
The show traces the evolution of coins from pre-Islamic times to the modern Saudi riyal, highlighting currency’s role in documenting artistic, economic, and political transformations. It includes scenography designed by Studio Ghaith&Jad and Farah Fayyad, with contributions from Al-Sharaan, and blends artistic and architectural elements to reflect different historical periods.
“When we came up with the title ‘Minted Narratives,’ we realized we wouldn’t be displaying everything in chronological order — but dividing it into different stories,” Jad Melki, of Studio Ghaith&Jad tells Arab News.
An example from the show's 'Women in Coins' section. (Supplied)
“Now we (barely) use coins anymore, so somehow when we look at these as historical objects and put them in such a contemporary space that we were trying to create, you start to focus more on what the coin is telling you,” he continues. “What is the narrative behind it? What was minted at that time? And how did people move these coins from one place to the other? It maps out an entire system of economies and cultures that are being minted on these coins, whether it is cultural emblems or different faces, or different typographies on them.”
The exhibition contains seven sections. It begins with “Pre-Islamic Coins,” highlighting symbols and meanings related to trade and authority. It is followed by “The Birth of Islamic Coins and Coins in the Islamic Dynasties,” which illustrates the unity and diversity of Islamic civilization over the centuries.
“One thing that we really wanted to emphasize in the scenography is to have those different experiences because we have a shift in narratives,” Melki said, sharing that the first section’s aesthetic is very “somber” with dark lighting and earthier tones, while the birth of the Islamic civilization is a brightly-lit space, suggesting the enlightenment of the time.
The show's 'The Birth of Islamic Coins and Coins in the Islamic Dynasties' section. (Supplied)
The section “Women in Coins” showcases the presence of women in numismatics. “A lot of women’s names have been mentioned on coins,” says Baron. “I was relatively ignorant about that. I started to dig into the topic and found that lots of queens in Arab culture had been mentioned on coins, which obviously underlines their importance, and that brought me to Zubaidah (bint Ja’far) — one of the key figures in (Islam).” (Queen Zubaidah significantly financed Darb Zubayda, a pilgrimage route that offered those performing Hajj an easier journey to Makkah.)
“Treasures and Coins of ,” meanwhile, tells the story of the Kingdom’s unification, and the building of the modern state. Melki describes this as “the most important section” of the exhibition.
“There we wanted to create the typography of Makkah and to highlight that these coins were minted there, or in Madinah,” he says. “So there are different elements that reference geography or architecture.”
“(Coins) are an incredible source of knowledge. The world should know that cities like Makkah and Madinah had a rich history,” says Baron. “Qur’ans and artworks from this period have almost all disappeared, or are awfully rare. So what you see here, basically, are the last remaining witnesses of the earliest stages of the history of Islam.”
In the heart of Diriyah’s Jax District — a neighborhood synonymous with creativity and design — lies Dahma, a cafe and carpentry space that redefines what a coffee shop can be. More than just a place to grab a drink, it is an immersive experience where art, craftsmanship, and coffee converge.
Walking into Dahma feels like stepping into a workshop and a museum. The interior is rich with artisanal details: wooden walls engraved with Arabic calligraphy, vintage carpentry tools displayed like art, and intricately carved doors that showcase the beauty of traditional craftsmanship. Even the seating area — with its leather-woven chairs and greenery — reflects a thoughtful design aesthetic that merges comfort with artistry.
The coffee, meanwhile, is impressive. A flat white costs SR15 ($4) and stands out for its smooth, bold flavor. You may opt for the iced Americano, which is refreshing and well-balanced. While the food menu is limited, with only a few sweets available, the quality of the coffee easily makes up for it. Expanding the menu would certainly enhance the overall experience.
What makes Dahma particularly special is its community. Every weekend the cafe transforms into a gathering place for painters, sculptors, and other creatives. The tables — often covered in paintbrushes, chisels, and tools — become workspaces where art is born while coffee is savored. It is a rare setting where you can sip an espresso while watching a piece of wood being carved or a canvas brought to life.
The name “Dahma” reflects this unique spirit. Inspired by both the deep blackness of coffee and the noble elegance of Arabian horses, it conveys authenticity and refinement — qualities that mirror the cafe’s identity.
While the seating area is somewhat limited and the cafe often feels more like a gallery than a bustling coffeehouse, this intimacy is part of its charm. Facilities such as restrooms and a prayer rug add convenience, making it a comfortable spot to linger.
Dahma is more than just a coffee stop: it is a cultural experience. For those seeking high-quality coffee in an inspiring, museum-like space where creativity flows as freely as the espresso, visiting Dahma is a must.
Shahad Ameen rewrites narratives about her country with ‘Hijra,’ which was shown at Venice Film Festival
Updated 25 September 2025
Hebshi Alshammari
RIYADH: For Saudi filmmaker Shahad Ameen, presenting her work on the international stage is more than a personal achievement — it is an act of cultural expression.
Ameen’s latest film, “Hijra,” an exploration of female identity across generations, was shown at the recent 82nd Venice International Film Festival, putting the Kingdom firmly on the map of world cinema.
“There’s something special about being seen in a space like Venice,” the filmmaker told Arab News.
A young actress during a scene from "Hijra." (Supplied)
Ameen’s pride, however, extends beyond personal acclaim and is as much about demonstrating that Saudi stories carry significant “emotional weight, spiritual depth, and cinematic ambition.”
“Hijra” is supported by the Saudi Film Commission, as part of its efforts to make local films global.
The film marks a stylistic shift from her critically acclaimed debut “Scales,” a mythic allegory. The director described her latest production as a road film exploring how women across different generations perceive their identity.
“It’s a story of women navigating who they are, and understanding what freedom means to them,” Ameen said. “Where ‘Scales’ was mythic, ‘Hijra’ is more intimate. It’s about the pilgrimage we make toward ourselves, and the cost of that journey.”
Saudi director Shahad Ameen during the filming of "Hijra." (Supplied)
A central theme in Ameen’s work is challenging widely held views of . She rejects the notion that Saudi stories are binary, either about oppression or exoticism.
“I want to move past that,” she said. “Our lives are layered, our women are complex, and our culture is evolving in ways that deserve nuance.”
Ameen’s goal is not to explain Saudi culture, but to express it through “characters who feel real, flawed, and emotionally alive.”
Through “Hijra,” she hopes to share the “rhythm of our lives” — the quiet rituals, unspoken emotional codes between women, and the landscapes steeped in memory.
“There’s a softness in our culture that’s often missed,” she said. “I hope people feel the beauty in our resilience, and the complexity of our choices.”
The final moments before filming a scene from "Hijra." (Supplied)
Ameen is candid about the significant challenges in the film’s production — filming took place in eight cities, with tight timelines and only limited resources — and credits the rapidly evolving Saudi film infrastructure for making “Hijra” possible.
“The Saudi film space is growing, and our partnership with the Saudi Film Commission was absolutely essential,” Ameen said, acknowledging their help with permits, location scouting, and funding. “Most of our budget came through their support.”
She also highlighted crucial on-the-ground support from Film AlUla and Neom, calling it a “collaborative effort” with institutions that “truly believe in the future of Saudi cinema.”
For Ameen, authenticity is essential, and she rejects any idea of consciously balancing local and global themes. “I don’t think about balance, I think about truth,” she said. “I write from a Saudi lens, but I write about longing, loss, rebellion, love. These are not regional — they’re human. The specificity is the strength.”
As one of the leading voices in a new wave of Saudi cinema, Ameen is aware of her role in paving the way for others. “Success creates space,” she said. She hopes that these achievements will encourage greater investment in mentorship and infrastructure, giving the abundant local talent “room to breathe.”
Ameen sees her career as a chance to “rewrite the narrative” for herself and future generations. “I grew up without cinematic mirrors,” she said. “Now I get to hold one up.”
Looking ahead, Ameen said that she is committed to telling stories rooted in the Saudi experience, and describes the Kingdom as “the most exciting place in the world to make films.”
“We finally get to speak for ourselves,” she said. “That’s significant.”