Major Pakistani cinemas refuse to screen ‘Legend of Maula Jatt’ amid dispute with distributor

The owner of Pakistan's film distribution company Mandviwalla Entertainment and the official distributor of ‘The Legend of Maula Jatt’, Nadeem Mandviwalla (right), addresses a press conference in Karachi on October 20, 2022. (Photo courtesy: Starlinks)
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Updated 21 October 2022
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Major Pakistani cinemas refuse to screen ‘Legend of Maula Jatt’ amid dispute with distributor

  • ‘Legend of Maula Jatt’ yet to be screened by major Pakistani cinemas including Nueplex, Cinepax
  • Cinema representative tells Arab News negotiations are underway, agreement seems likely

KARACHI: Despite raking in impressive numbers overseas and attracting critical acclaim, the highly anticipated Pakistani film ‘The Legend of Maula Jatt’ is not being screened by major Pakistani cinemas owing to a dispute between the distributor of the movie and cinema representatives. 

The movie has, however, released in limited theaters across the country. The film’s distributor, Nadeem Mandviwalla, had pleaded with cinema representatives for “better terms and support” prior to the movie’s release, citing that it was the most expensive film made in Pakistan to date. 

He asked cinema representatives to raise the prices of tickets for the first 11 days of the film’s release, with the additional amount going to the producers. 

Cinema owners and representatives, on the other hand, had reservations, citing rising operation costs. They objected to the increased cost of tickets, saying that higher-priced tickets would mean a decrease in footfall in cinemas which would ultimately impact revenue. 

At the time of the film’s release, 34 out of 38 cinemas agreed to the terms and released ‘The Legend of Maula Jatt’ on their screens. The remaining four that did not agree to the terms are Nueplex, Cinepax, Cinestar and Arena cinemas. 

Released on October 13, 2022, ‘The Legend of Maula Jatt’ features an ensemble cast that includes some of the biggest names in Pakistan’s showbiz industry, such as Fawad Khan, Hamza Ali Abbasi, Mahira Khan and Humaima Malick. 

The film has been released in major cinemas across the world. However, prominent Pakistani cinema chains such as Nueplex Cinema, Cinepax and Cinestar are not screening the movie amid the stalemate between the producer and cinema representatives. 

On Thursday, Mandviwalla, the owner of the film distribution company Mandviwalla Entertainment and official distributor of ‘The Legend of Maula Jatt’, addressed the controversy at a press conference. 

“We asked for an extra 10 percent share [of ticket prices] in the first week [of the film’s release],” he told reporters. 




The cast members of the newly released Pakistani movie, The Legend Of Maula Jatt, pose for a group picture at the world premiere in Doha, Qatar on October 16, 2022. (Instagram/fawadkhan81)

Mandviwalla heaped praise on ‘The Legend of Maula Jatt’, saying never before in the history of Pakistani cinema had a movie like this been helmed. He said that as a result, he had decided to come up with the strategy to maximize revenue from such a flick. 

In its opening weekend, the film raked in an impressive $2.3 million worldwide, according to the official figures. The movie performed the best in the UAE, where it made a whopping $289,739 on the opening weekend, followed by Canada and Australia. 

The combined box office collection from the Gulf countries stood at $515,000 by the end of the first weekend. 

“Universally, whenever mega productions are released, cinema owners or groups support such films by giving more screens so that maximum box office collections are done in the initial fortnight,” added Mandviwalla. 

Mandviwalla said that when the opposite happens and there aren’t many screens available, admission rates are increased and a higher percentage of the box office is shared with film distributors. 

“The objective is to assist the film’s box office collection in the initial period and support distributors and producers without sacrificing the revenue of the exhibitor,” he explained. 

“A win-win for all.” 

Mandviwalla said the film is expected to surpass the Rs 20 crore ($902,708) mark in Pakistan, adding it would be a historic feat and that too when almost 50 percent of the cinemas are not screening the movie. 

“The highest [opening] week in Pakistan till today [has been claimed by] Sanju (Bollywood film), that is, Rs 18 crore ($812,437),” he said. “Both are non-holiday figures,” he told Arab News on the sidelines of the press conference. 

The official box office numbers for the film’s first week in Pakistan have not been announced yet. 

“We designed the strategy targeting the Rs 100 crore ($4,513,543) figure and for that, we needed to make Rs 40-50 crores ($1,805,417-$2,256,771) in the first eight days,” Mandviwalla added. 

Mandviwalla said the film’s producers were on board with the strategy to increase the film’s revenue. 

“The plan we came up with was based on the calculations made accordingly, with agreement from the film’s producers,” he reiterated. 

He said it was not possible for him to “go back” on the terms agreed upon as 34 out of 38 cinemas had agreed to them, which Mandviwalla said were the same for everyone. 

Adnan Ali Khan, general manager of marketing and sales of Cinepax Cinemas, told Arab News that the distributor initially said the movie is “a one-of-a-kind film and asked to raise the ticket price and [demanded] more share than the usual agreement.” 

“Given the operation cost for the cinema, we wanted to stick to the old formula and terms set for previous films. Negotiations are still going on,” Khan said, hinting that both sides were expected to come to an agreement. 

 


Film Review: ‘Mother’s Instinct,’ a psychological thriller that keeps you guessing until the end

Updated 10 May 2024
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Film Review: ‘Mother’s Instinct,’ a psychological thriller that keeps you guessing until the end

  • Anne Hathaway plays "the perfect mother" in this 2024 psychological thriller in a remake of a French film, which itself was a novel adaptation

Anne Hathaway has played many roles over the course of her career: a surprise princess, an assistant to a fashion magazine editor, a recovering addict, Cat Woman. In “Mother’s Instinct,” she plays a mother — the perfect mother.

In this 2024 psychological thriller — a remake of a French film which itself was a novel adaptation — Hathaway is joined by Jessica Chastain. The two play best friends who are living the American dream.

They are next-door neighbors. Their husbands are the best of friends, as are their eight-year-old sons. They live in an affluent neighborhood in cookie-cutter 1960s’ suburban America. Everything seems idyllic.

The film begins with Celine’s (Hathaway) birthday. Alice (Chastain) and the women’s husbands throw a surprise backyard party. Celine receives a pearl necklace, a joint gift from their family and friends. It’s a wonderful celebration.

But the next day, there’s a tragic death.

One of the young boys falls from a balcony under suspicious circumstances. At the time, he was being supervised by the other mother.

The film forces us to ask: How can a mother live with herself after she entrusted her son’s life to her friend? Could anyone forgive themselves? Could they forgive their friend? 

By mid-film, there are still two mothers — but now one is childless. The one whose son has survived feels guilt. The one who lost her boy feels fury. Both feel grief.

As the story unfolds there are more deaths and we begin to wonder: Did one mother deliberately harm the other’s son? Who is innocent here? Who is evil? Was it an accident or a deliberate act? And who will die next? 

Events become more sinister. Nothing seems perfect anymore. Even the beautiful pearl necklace ends up broken on the floor, the tiny gems rolling around chaotically.

First-time director Benoit Delhomme does a good job of leading our eyes where he wants them to go. The cinematography is beautiful, while the styling and outfits are divine.

This film keeps you guessing until the end. And there is no happy ending; sometimes, the happy ending is that there is one at all.


US animation lights up Saudi Film Festival

Updated 09 May 2024
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US animation lights up Saudi Film Festival

DHAHRAN: Saudi filmmakers of the future were given a masterclass in the latest animation techniques as part of the Saudi Film Festival this week.

The animation workshops were led by experts from the US as part of a collaboration between the festival and the American Chamber of Commerce and US Consulate in Dhahran.

The animation workshops were led by experts from the US as part of a collaboration between the festival and the American Chamber of Commerce and US Consulate in Dhahran. (Supplied)

Todd Albert Nims, one of the pioneers in shaping the Saudi film industry over the past decade, told Arab News that with a population of 36 million, many under 35, Saudi Arabia is ripe with potential in the film sector.

Nims, an American who was born and raised in Dhahran, is now head of the AmCham Arts, Culture and Entertainment Committee, and has been involved in all aspects of Saudi-centered films, from acting to producing.

“I went to the first Saudi Film Festival in 2008 and worked with them on bringing the Saudi Film Festival into Ithra … I was there with them, and I’ve been here within this journey for the last 16 years,” he said.

Nims said that many Saudis grew up watching Disney films, and began their filmmaking efforts creating short content on YouTube.

He said there is huge potential for the Saudi market to grow, adding that he wanted to offer young filmmakers the opportunity to “gain expertise right in their backyard.”

Travis Blaise, who has over three decades of experience in animation, and has worked on Disney classics such as “Beauty and the Beast” and “The Lion King,” was on hand to conduct a five-day workshop.

“I was brought on to bring something new and unique to this Saudi Film Festival, which was bringing storytelling, or visual storytelling, to script,” he told Arab News. 

Together with fellow American William Winkler, Blaise dedicated each day to bringing the overall picture to life, sketching ideas, developing the story structure, and even discuss the backstory of characters.

The goal was for each student to develop their own 30-second script. The workshop began with 11 students, but the figure soon ballooned to 20.

“Every single student was Saudi; most of them were women from several universities, while a couple were already professionals working in the industry,” Blaise said.

“I love the excitement and passion that they (the Saudi students) share because I have shared that same passion for the last 34 years, and the fact that I can bring something of my own experience to someone who is passionate and open-minded and willing to learn about film really is exciting,” he said. 

The experts told Arab News that they are committed to building connections between the US and Saudi film industries, recognizing its potential to inspire, educate, and entertain audiences both domestically and internationally.

“Through filmmaking, we aim to strengthen ties between the US and Saudi Arabia by fostering mutual understanding and creative collaboration,” Alison Dilworth, the US deputy chief of mission, told Arab News.


British Council, Saudi Cinema Association working to ‘drive’ industry growth

Updated 09 May 2024
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British Council, Saudi Cinema Association working to ‘drive’ industry growth

  • Two organizations collaborated for 10th Saudi Film Festival
  • Aim to find emerging talent and foster cultural exchange

DHAHRAN: The partnership between the British Council and the Saudi Cinema Association this week for the 10th edition of the Saudi Film Festival will help boost the industry, showcase emerging talent, and foster cultural exchange, say officials and creatives.

The event at the King Abdulaziz Center for World Culture, or Ithra, in Dhahran, began on May 2 and concludes on Thursday.

For the occasion, Studio Ulster and the SCA offered a training program to empower Saudi Arabia filmmakers with cutting-edge animation skills. The program commenced online and continued during the festival.

As part of the festival’s program, the British Council showcased a curated selection of UK short films, providing a platform for filmmakers to engage with Saudi Arabia audiences and forge meaningful connections.

Furthering this initiative was a series of masterclasses hosted by animation legends from Blue Zoo Productions, who offered insights into the nuances of building a thriving animation industry within the cultural framework of the country.

“We believe in the power of the arts to drive socio-economic development and are committed to fostering long-term partnerships that empower artists and enrich communities,” Amany Abouzeid, regional arts director of British Council MENA, said of the festival’s role in elevating the Kingdom’s Vision 2030 goals.

UK-based film producer Tony Humphreys, who came from London to attend the event, had high hopes for the week.

“I’m a producer and I’m also a consultant over here at the moment in the Saudi Film Festival to help try and link Saudi businesses and Saudi creatives with UK businesses and UK creatives,” Humphreys told Arab News.

The experience exceeded his expectations.

“I’ve met lots of very interesting people; lots of energy, lots of desire to do more and succeed creatively and lots of collaboration potential between our two nations,” he said.

“I’ve seen several of the programs, particularly the short film programs, I think there’s been a really interesting mix across all sorts of storytelling; some more traditional, some quite challenging in terms of themes and content. I think there’s a real vibe and a positive sort of drive of wanting to take the industry further very quickly.”

Ahmed Al-Mulla, who founded the SCA, said: “Our filmmakers were dreamers; they made their films underground and then went outside the country to screen them … Now, things changed in the blink of an eye.”


‘Star Wars: Tales of the Empire’ revisits under-explored characters from the Dark Side

Updated 09 May 2024
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‘Star Wars: Tales of the Empire’ revisits under-explored characters from the Dark Side

  • Focus on characters Morgan Elsbeth and Barriss Offee
  • Second anthology of the ‘Star Wars’ animated shorts

DUBAI: The second anthology of the “Star Wars” animated shorts “Star Wars: Tales of the Empire” — following the 2022 collection “Tales of the Jedi” — offers a look behind the curtain at two powerful but under-explored characters from the franchise, Morgan Elsbeth and Barriss Offee.

The first three episodes of the six-parter go back in time to explore how Nightsister Elsbeth was initially drawn to the Empire. Fans of “Star Wars” will be familiar with the character after her live-action appearances in “The Mandalorian” and “Ahsoka.”

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

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Now, with “Tales of the Empire,” Elsbeth makes her animation debut. Diana Lee Inosanto, who plays Elsbeth in both live-action and animation, said she did not feel there was much difference between the two mediums.

In the recording booth, Inosanto — a trained martial artist and godchild to the late Bruce Lee — moved her body to match the action of the scene.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

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“In my acting approach, I don’t see any difference between being on the set and being in the recording studio, other than the fact that I had to kind of create my own little bubble in being in this space. I still physically do the same preparation and work and the breathing,” said Inosanto in a recent interview with Arab News.

“But yeah, when I first initially read the script for ‘Tales of the Empire,’ I went: ‘Oh my gosh, finally, I understand her,’ because all of those little details were now filled in for me as well. So, I hope the same happens for all the fans. I really think fans are really going to understand now why Morgan was shaped the way she was mentally, why she was wired the way she was, and that she was really coming from a place of being a survivor all her life.”

Meanwhile, the last three episodes of “Tales of the Empire” reveal what becomes of Barriss Offee after Order 66 toward the end of “Star Wars: The Clone Wars” series. A Jedi prodigy, Offee’s character was forever branded a traitor after she turned her back on her kind by bombing the Jedi Temple and framing her friend Ahsoka Tano for it.

Actress Meredith Salenger, who has been waiting for more than a decade to find out what happens to Offee, said to Arab News about her character: “Barriss at the very beginning of ‘Tales of the Empire,’ she is in jail. She has recently been jailed by the Republic. And I think she is particularly conflicted, because she can see what’s happening to the rest of the Jedi. I think she knows when the Jedi Temple explodes and all of these things. She knows it’s gone perhaps too far.”

“And when she’s approached by the Fourth Sister, who is an Inquisitor, it’s sort of like: ‘This is not what I thought my journey would be. I don’t know if I should go along with this. But I also know it’s the only way I’m going to survive.’ There’s a fear that anyone at any time can be killed. I think she’s curious as to what the next step is going to be for her.”


Artist Dalya Moumina: ‘Jeddah is always going to be home to me’ 

Updated 09 May 2024
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Artist Dalya Moumina: ‘Jeddah is always going to be home to me’ 

  • The NYC-based Saudi-Filipina artist discusses growing up in the Kingdom and how her cultural background has influenced her work 

DUBAI: Dalya Moumina is an emerging New York-based artist whose imaginative landscape paintings partially pay tribute to her Arab and Asian heritage. She was born in Washington DC in 1996 to a Saudi-Palestinian father and a Filipina mother. Both were travel lovers, who luckily happened to have met each other on a flight. When Moumina was three years old, her family relocated to Saudi Arabia.  

“Jeddah is always going to be home to me. Whenever I go back, it feels like I never left,” Moumina tells Arab News. “Growing up there was very adventurous. I lived the Jeddah lifestyle, right on the Red Sea, which was the best childhood to be honest. I’d go to the beach almost every weekend and we would do desert trips and hiking. I was also a professional horseback rider. I think the part of Jeddah that most influences me is definitely the water. The Red Sea is, in my opinion, the most beautiful sea out there. It’s so blue.” 

Dalya Moumina in her studio. (Supplied) 

She also has a special connection with the Philippines, which she visited every summer when growing up. “I’d see my mother’s side of the family and my cousins. The people are so kind-hearted. We would go to the islands there, like Boracay and Palawan. They’re absolutely stunning,” she says. “I think I try to bring those influences into my work, especially the tribal communities there. For example, in ceremonies, they’re very into face painting primitive shapes that symbolize different things.”  

Those childhood memories have seeped into the bold utopian landscape imagery that Moumina started creating in 2019.  

“We have volcanoes and beautiful islands in the Philippines. I think growing up around those extreme and contrasting landscapes led me to amalgamate them into my work, because the meandering, like, rivers and labyrinthine terrains there are unlike any other place, in my opinion — contrasting with the desert landscapes in Saudi Arabia,” she explains.

Dalya Moumina's 'Tempestuous Reverie.' (Supplied)

  

Although she doesn’t come from an artistic family, Moumina always found herself making collages, scrapbooking and drawing.  

“I’ve been painting my whole life. I never took it seriously, but I think it was always an innate part of me,” she says. She also had an aunt who drew and she encouraged her niece. During high school, Moumina took art classes and actually sold her first artwork at a school exhibition.  

She later attended the University of Virginia to study business, technology and psychology (along with a few art classes). It was while in Virginia that she discovered the work of American master Georgia O’Keeffe, who famously depicted America’s sweeping mountainous landscapes. 

“She used to teach at my university, and she’s such a big inspiration in my work,” says Moumina. “I would say that our styles are similar, but, obviously, I’m trying to distinguish myself.” 

The artist works on one of her paintings. (Supplied) 

In 2019, Moumina graduated, but a few months later the COVID-19 pandemic hit. She started painting again during lockdowns.  

“I really missed traveling, so I was thinking of the landscapes and the ocean from Saudi and the feeling of being by the beach,” she says. “I’ve always loved using oil paint, because it’s slow-drying and the colors are so rich. It’s very therapeutic and relaxing. Sometimes, I’ll play melodic music, other times I’ll work in silence. Whenever I start painting, I just go into a flow state of mind and work for hours — forgetting to eat. You don’t even realize it.” 

Moumina’s arresting landscapes feel otherworldly, isolated and fantasy-like. At times, a large yellow sun dominates the composition, above wave-like mountains and flowing rivers. Inspired by cubism and surrealism, Moumina executes her paintings in three-dimensions, with sharp contrasts and bold colors.  

“Each piece, I’d say, has a distinctive energy and character,” she says. “I don’t want people to just look at the work, I want them to feel something and walk away thinking about it more, and thinking something new. I try to lure people in through the energizing presence of fresh possibilities. . . I hope people see, through my work, that everything is simply interconnected and interactive.” 

The artist's 'Harmony Rising.' (Suuplied

Along with the vivid colors and energy in Moumina’s work, there is also a sense of somberness. “There’s so much happening in the world,” she says. “I think of my grandmother, who was Palestinian. She was evicted from her home back in the Forties, and I made a painting that was inspired by her. Because I live all the way in New York, it’s kind of hard to keep in touch with what’s happening in the Middle East.” 

Moumina has been living in New York — which she describes as “the art capital of the world” — for two years, and she is represented by GR Gallery. On May 3, a group show, “Transfiguration,” opened at the gallery. The show includes a selection of Moumina’s nature pieces. She says that being an artist in a well-established art scene like New York is competitive, and that she has considered doing a Master’s degree in art, but she realized that she needed something more in order to succeed.  

“What helps you in this industry is networking and not staying in your studio 24/7,” says Moumina, who describes herself as sociable and extroverted. “Half of it is also connecting with other artists and really putting yourself out there.”  

She also believes that being both Saudi and a woman has been an advantage so far in her career. “I think it’s still a male-dominated field,” she says. “But a lot of gallery owners are trying to bring up more female artists, because that’s what’s kind of in demand nowadays.”