JEDDAH: Filmmaker Hanaa Alfassi, from Jeddah, is a rising talent in the nascent world of Saudi cinema, rubbing shoulders with iconic directors like Haifa Al-Mansour.

Her latest project, “When the Shelves Hymn,” created under the working title “Bygones,” is a coming-of-age drama that is currently in post-production. A scene is set to be screened at a Film AlUla event at Cannes Film Festival this week and the film is part of the AlUla Creates initiative, with Al-Mansour present as one of the mentors on set.

“We were fortunate to have the director Haifaa Mansour provide valuable feedback during the development process.” Alfassi told Arab News. “She is a very kind and inspiring filmmaker, and we were glad as a team to have her visit the set.”

Collaborating closely with industry veterans like Moayad Abualkhair and Al-Mansour, Alfassi benefited from robust feedback loops that significantly enhanced the development process.

She also faced numerous challenges while filming “When the Shelves Hymn.”

“Despite unexpected delays, the team utilized these interruptions for in-depth discussions and rehearsals, adding depth to their work,” she said.

Filming in the old town of AlUla was a deliberate choice, intertwining the narrative with the historic location’s enchanting landscapes.

“The choice of an antique shop in the old town was not only organic to the story but also perfectly aligned with the location’s authenticity,” the filmmaker said.

We were fortunate to have the director Haifaa Al-Mansour provide valuable feedback during the development process.

Hanaa Alfassi, Saudi filmmaker

“Despite the numerous regulations governing shooting location, as it’s a perceived UNESCO heritage site, the production design team led by Amany Wahba and Theory PS ensured strict adherence to all requirements.”

The support from mentors throughout the production was crucial as it helped fine-tune the script, enrich the film’s direction, and ensure the final product was not only a reflection of Alfassi’s vision but also collaborative filmmaking.

“Their support went beyond just providing feedback; it was a source of encouragement and motivation throughout the process,” she told Arab News.

Alfassi also served as a judge at the 10th Saudi Film Festival, which was held recently this month in Dhahran, a task that provided her with a unique vantage point and offers opportunities to partake in meaningful discussions.

“Serving as a jury member is also a learning experience exposing me to a diverse range of films and viewpoints as well as true discussions about the nature of cinema as an art form,” she said.

Alfassi’s cinematic perspective was profoundly influenced in 2012 during the premiere of “Wadjda,” the first feature-length film made by a female Saudi director (Haifaa Al-Mansour) at the Tribeca Film Festival in New York City. The film was the Kingdom’s official submission for the foreign language film category in the 86th Academy Awards, marking the first time the country submitted a film to the Academy for consideration.

At the premier, surrounded by a diverse audience, Alfassi was struck by the universal curiosity and connection films can foster. “It was a moment filled with excitement and curiosity as we witnessed people from diverse backgrounds and cultures come together to experience a film from a different place,” she said.

“This sense of curiosity has always been a part of me, but the experience reinforced its importance. It’s crucial for me today to maintain this curiosity, as it enables me to tell diverse narratives and explore new perspectives.”

Her entry into the world of filmmaking was not straightforward, but rather a series of inspired redirections. Her initial foray into the digital arts began with a 3D animation course in 1999 during her high school years in Egypt.

Although the emerging digital era fascinated her, Alfassi found the detailed process of animation to be too time-consuming. This led her to explore photography, which temporarily satisfied her storytelling impulses. However, her desire to tell dynamic, evolving stories only grew from there.

Alfassi enrolled in the filmmaking institute, setting her career trajectory firmly toward the cinema. “As I pursued my studies in mass communication at University of Ain Shams, my mother discovered a new institute founded by one of Egypt’s renowned filmmakers, Rafat Al-Meehi,” she said. “I enrolled, balancing two years of filmmaking education alongside my college curriculum.”

Over the years, Alfassi has contributed to various short films both as a director and producer. One of these, “Lollipop,” received a financial award from the ENJAAZ Dubai Film Market’s production support fund and gained support from The Heart Productions and the Industry Lab at the New York Film Academy.

“Lollipop” has been showcased at several prestigious festivals, including the Dubai International Film Festival and the Malmo Arab Film Festival. It was also featured in the “Hope” program by ANHAR, the Arab Network for Human Rights Films.

Another project she was involved in, “In Between,” directed by Dalia Bakheet, was officially selected for the renowned Annecy Film Festival in 2019.

From being inspired by a film by Al-Mansour to becoming a film director herself and having Al-Mansour on site, Alfassi’s hard work and perseverance has clearly paid off. Late last year at the 2023 Red Sea International Film Festival, alongside her colleagues Jade and Mana Al-Majd, she clinched one of the two awards in the TV Series Lab category for their comedy TV pilot set in Saudi Arabia, an achievement she considers an honor.

Alfassi’s journey in filmmaking is a compelling narrative of passion, adaption, and perseverance.

Looking ahead, the Saudi filmmaker is enthusiastic about her participation in future festivals and is keen to leverage platforms like the Cannes Film Festival to broaden her network and introduce her work to a global audience.

RIYADH: In Ahlam Gallery’s latest solo exhibition, Swiss painter Vlad Pocol examines the ties that link past, present and future — with Saudi Arabia’s Vision 2030 as a reference point.

“If you could explain your artworks in one word, what would it be?” one listener asked. “Intuition,” Pocol replied, explaining the basis of his first show in the Kingdom.

The artist relied on intuition when he decided only a few months ago that Saudi Arabia would be his new home, leading him to create an exhibition based around three ideas: heritage, transition, and vision.

The immersive exhibition titled “From Roots to Vision: A Migration” urges observers to think about heritage, and challenge the possibilities of the future as we weave our past legacy for generations to come.  

Pocol told Arab News: “It’s great to evolve, but it’s also important to stay rooted in our own heritage. I’ve taken Saudi Arabia as an example. Everyone is so excited with what’s happening with the Vision (2030), but everyone is still so rooted and respectful and inspiring in a collective way … that can also inspire us in an individual way.”

Within the “Heritage” collection, “Identites” delves into the themes of self-reflection and outsider perceptions. Four papier mache panels woven together by rope encourage the viewer to see alternative versions of themselves as they are layered in complexity with oil paint.

It is great to evolve, but it is also important to stay rooted in our own heritage.

Vlad Pocol, Swiss artist

“Legacite” is a series of six artworks that explores the themes of circularity, continuity, and generational cycles. In a single dot, each painting prompts a reflection on the viewer’s part within these continuous loops.  

The highlight of the show, “Sans Fin,” is a mirage of moving images constructed by strokes of paint. The piece is inviting, yet mysterious, prompting us to question our capability to grow using the metaphor of a black hole — you never know what may lie in the unknown.  

In 2018, when Pocol was a lawyer, he was invited by a colleague to a workshop centered around recreating the work of a contemporary artist. After an accident that resulted in a damaged painting, he developed a technique to repair the artwork.

“My technique gives structural movement. When you see my paintings, you enter a world … it’s moving. My energy also comes up in the artwork,” he said.

In “Transition,” the works invite viewers to consider what lies beneath the surface, with more sculptural works coming into play.

Another installation is made of discarded materials salvaged from artwork waste. What we deem as undesirable is turned into something valuable, and even beautiful, challenging us to reconsider sustainability practices and our role in global consumption.  

In the “Vision” collection, the artist’s optimism about the future is linked to the promise of Saudi Arabia’s Vision 2030.

His work “Dessen” is based on a childhood memory of winning his first drawing contest, and celebrates the impact of early creative expressions on future artistic development.  

While “Elles” is a tribute to femininity and the women in his family, nearby twin works are inspired by the artist’s migration from Romania to Switzerland.  

Pocol describes the green-colored “Ja Deu Tu Certo” as “one of the most personal” works in the collection.

“Any pieces I’ve offered to my mom have been green because I really believe in the power of healing and the green (color). My mother has been fighting metastatic cancer for two years now,” he said. The work conveys his belief that “she will be well.”

He said the color also holds significant meaning in Saudi culture, as it stands for pride and patriotism.

Reflecting on showcasing his works in the Kingdom, Pocol said: “It’s so significant to have my exhibition here. While I have roots from Romania, 30 percent of my genes are Middle Eastern. Being here in Saudi Arabia is very subconscious. I feel at peace, like I’m coming back to something.  

“I’ve traveled a lot in my life and it’s the first time I’m able to find a new home outside of Switzerland … once you follow your intuition, it gets you to whatever is meant for you. That’s why I’m here in Saudi Arabia. It’s meant to be.”

The exhibition will run until June 2.