DUBAI: The Syrian director Feras Fayyad had his first encounter with the White Helmets just over four years ago. It was 2013, a barrel bomb had been dropped on the city of Aleppo and members of the search and rescue team were running in its direction with little regard for their own safety.
Shortly afterwards, in one of the worst explosions to hit the city, many of them lost their lives.
It was a moment that would shape Fayyad’s future. Amazed by their ability to turn such loss into the motivation to continue to search for life under the rubble, he began to contemplate the media’s portrayal of the civil war in Syria.
“At that time all the media were focusing on refugees, battles, wars and terrorism, but behind all of that there was a story of these men with their families who faced everything to stay,” Fayyad told Arab News. “They had a sense of responsibility toward their surroundings. They were running toward where they might lose their lives.
“In my mind, I wanted to catch how much this war destroyed the relationships inside families and how those families survived. What did they do, what made them keep saying and doing what they did, knowing that saving the lives of others might cause them to lose their own lives?”
The end result of that contemplation — “Last Men in Aleppo” — had its Middle East premiere at the Dubai International Film Festival, which wraps up on Dec. 16.
Shot in collaboration with Danish filmmaker Steen Johannessen, the documentary won the Sundance Grand Jury Prize in January and has been described by The Guardian as a “100-minute account of lives lived in hell.” Powerful, heartbreaking and immediate, it has won critical praise across the world.
Set in Aleppo after five years of war, it follows volunteers working for the White Helmets as they face a daily life-and-death struggle, scouring through rubble in search of bodies and signs of life.
Volunteers such as Khaled Omar Harrah, a father who will do anything to save his two daughters; Mahmoud, who feels guilty because his brother Ahmad already volunteers for the civil defense unit, so joins himself; and Abu Youssef and Nagieb, who will try everything to make sure their best friend Khaled survives.
“These kinds of relations between the characters drove me to another level, where I discovered how those people survive and what motivates them to keep doing what they do,” Fayyad said. “The cohesion of social relations was immeasurably strong, contrary to what I thought — that is, that society would disintegrate as a result of war and devastation. But I found that what made these people survive was to hold on to their relationships. It’s a story about fatherhood, brothers, friendship and love.”
Produced collaboratively by Larm Film in Copenhagen and the Aleppo Media Center (AMC), Last Men in Aleppo was shot between September 2015 and autumn 2016.
For years the AMC had filmed civilians being bombed — uploading the footage to CNN, Reuters and YouTube — and acted as reporters in front of the camera. It was a method that co-director Johannessen said they had grown tired of, mainly due to its ineffectiveness in raising international awareness. So they teamed up to try to tell their stories in a longer format.
Understandably, making a film in a city under aerial bombardment proved harrowing, while the co-directors also needed to assuage the fears of two of the main characters that the film was not about them seeking personal fame.
“It’s hard to explain how dangerous it was, but whoever watches the film will see the madness and irrationality that surrounded us,” said Fayyad, who was tortured and imprisoned by the Syrian regime during the early days of the war. “Where the city literally burned, the sounds of death (besieged) us at every moment. But what was impressive was the adherence of the citizens of Aleppo to life and resistance and survival.
“We were able to capture the most impressive moments of the meaning of love of life and strong adherence to human values, which was a compass for our characters and for the survival of the population.”
As the aerial bombardment intensified, filming was occasionally abandoned, while those filming would sometimes drop their cameras and become rescue workers themselves.
Filming was particularly difficult for Fayyad, who was born and raised in Syria, but was forced to flee the country in 2012, heading first to Jordan and then on to Turkey, before relocating to Copenhagen. He first started working on Last Men in Aleppo while in Turkey.
“Some ideas can cost you your life,” said Fayyad, who had to slip in and out of Aleppo during filming. “This is how difficult it was for my cinematographers and me to bring this idea to life. But during the shooting we would look at how our characters faced challenges bigger than their abilities as humans for the sake of one idea — to save the lives of people. The people of their homeland, the people who know them.
“This in itself was for me a great motivation to think more about what can be done through art and what my mission as an artist was in front of all these challenges. My observations of the difficulties of the characters’ internal conflicts, where they have to decide between their personal and their families’ safety and their humanitarian duty toward those who believe in it, turned into questions in the film. Questions about the value of art in wartime and what it can do or change (also arose), as well as how it can be a testimony to history (and) space for them to express their desires and internal conflicts.”
In his absence, the cinematographers would continue to film, with the footage smuggled out of the country electronically. “For sure, one of our heroes on this film is the IT guy who worked hard and long to protect my footage,” said Fayyad, who has received several threats since the release of the film. As a result, he never lets it be known where he is living or where he is going.
At the Dubai International Film Festival, Last Men in Aleppo was among 18 films selected for this year’s Muhr Feature competition. Others include Lucien Bourjeily’s “Heaven without People,” Kurdish director Sahim Omar Kalifa’s “Zagros,” Iraqi filmmaker Mohamed Jabrah Al-Daradji’s “The Journey,” and Annemarie Jacir’s “Wajib.”
“This experience changed me a lot as a moviemaker and as a human being,” Fayyad said. “We made this film as a testimony to the history of our region. A testimony to war crimes that may someday be used as criminal documents to bring war criminals to justice.”
‘Last Men in Aleppo’ director sheds light on making a movie in a war zone
‘Last Men in Aleppo’ director sheds light on making a movie in a war zone
Macklemore shares teaser for new song in support of Gazans
DUBAI: American rapper Macklemore is set to release a new song this week in support of Palestine.
Titled “Hind’s Hall,” the track honors Hind Rajab, the 6-year-old Palestinian girl who was killed by Israeli soldiers in Gaza while waiting to be rescued.
Drawing its inspiration from the global student protests, the singer released a teaser of the track on his Instagram feed and said that all proceeds from its sale would be donated to the UN agency for Palestinian refugees.
“The people, they won’t leave / What is threatening about divesting and wanting peace? / The problem isn’t the protests, it’s what they’re protesting / It goes against what our country is funding / Block the barricade until Palestine is free,” he sings.
“What you willing to risk? / What you willing to give? / What if you were in Gaza? / What if those were your kids? You’d want the world to stand up / And the students finally did.”
The full song has yet to be released on streaming platforms.
Saudi Heritage Commission event celebrates ancient Rakah
- “We want our customers to enter our space, either in our booth at the event this week or our studio location, and in just a short time be able to produce something customized to take home, she told Arab News
DAMMAM: The Heritage Commission is holding an event to celebrate ancient Rakah, with historical reenactments, guided tours, archaeological experts and handicrafts.
Once a major trading spot, some 1,500 years ago, the area takes its name from an indigenous tree species that once flourished there. The sandy environment was also once under the sea and shells can be found still glued to the rocks.
Many of the guides are female archaeology graduates from Imam Abdulrahman Bin Faisal University, formerly known as the University of Dammam.
Wala Al-Nafaiai, who co-founded Dam Studio, a local business that specializes in handmade goods made of cow and camel hide, said she was looking forward to showing off her products to visitors.
FASTFACTS
● Once a major trading spot, some 1,500 years ago, the Rakah area in Dammam takes its name from an indigenous tree species that once flourished there.
● The sandy environment was also once under the sea and shells can be found still glued to the rocks.
“We want our customers to enter our space, either in our booth at the event this week or our studio location, and in just a short time be able to produce something customized to take home, she told Arab News.
“Instead of going to a restaurant, we want you to spend the time to have an experience, produce something practical and learn skills you can utilize later.”
Al-Nafaiai said she was delighted with how many people had taken part in the workshops she provided at her booth.
It seems many (people) enjoy customizing something that they feel connected to once they make it with their own hands.
Wala Al-Nafaiai, Dam Studio co-founder
“It was so crowded … I was surprised that there were more adults than children who wanted to join in, although the craft was very simple,” she said.
“It seems many (people) enjoy customizing something that they feel connected to once they make it with their own hands. And that is our goal and the goal of the Heritage Commission who invited us to join this successful event.”
Visitors were also able to learn about the importance of dates to the community in ancient times and how local people would make and trade date syrup with visiting merchants.
Organized in cooperation with the Sharqiya Development Authority, the festival ends on Tuesday. For more information, visit heritage.moc.gov.sa or @mocheritage.
Riyadh forum highlights importance of cultural identity and Arab heritage
- Scholars, officials, experts explore and celebrate Arabian Peninsula
- Katakura Kunio said that both Japanese and Islamic cultures had historic roots in promoting peace
RIYADH: The Al-Marwiyah Al-Arabiyah Conference, called “Desert Culture,” concluded on Monday in Riyadh. The two-day event brought together a diverse group of scholars, officials, and experts to explore and celebrate the rich cultural heritage of the Arabian Peninsula.
Prince Turki Al-Faisal, the chairman of the King Faisal Center for Research and Islamic Studies, said that nomadism was central to Arab culture, emphasizing its roots in values over materialism. He noted that Arabs were natural storytellers, adept at turning chaos into clarity.
Katakura Kunio, president of the Motoko Katakura Foundation for Desert Culture in Japan, delivered a speech in memory of his late wife, anthropologist Motoko Katakura, which highlighted her research in Saudi Arabia.
Kunio said: “Motoko’s enduring passion for comfort inspired our foundation to establish the Comfort Prize, aimed at supporting both Japanese and international researchers and artists. This award honors individuals who dedicate their lives to enriching desert culture.
“In the current climate of positive change within Saudi Arabia, including the increased societal participation of women and the focus on tourism development, it is natural to re-evaluate the traditional value of comfort. Perhaps, in a world increasingly driven by hyper-capitalism, comfort can offer a remedy for the global population yearning for a slower pace.”
Kunio said that both Japanese and Islamic cultures had historic roots in promoting peace. He noted that Prince Shotoku of Japan endorsed “respect for peace” in his 17-Article Constitution, while the Prophet Muhammad established the Madinah Charter, which also emphasized peace and tolerance. These parallels suggested a common ground for fostering cross-cultural understanding, he added.
Abdullah Hamidaddin, assistant secretary-general for scientific affairs at the KFCRIS, described Al–Marwiyah Al-Arabiyah as a research initiative which aimed to address confusion about Arab civilization. It sought to combat attempts to undermine and marginalize Arab culture.
Hamidaddin said that the project used scientific methods to study Arab narratives and the origin of language in the Arabian Peninsula, while promoting dialogues, field studies, and critical analyses in various fields, including history, archaeology, sociology, philosophy, literature, and art.
The conference aimed to highlight the civilizational and cultural significance of the Arabian Peninsula, while seeking to strengthen the sense of Arab identity for future generations. It also promoted cultural exchange between the Arab world and neighboring regions.
A lecture titled “Gifts of God (Camels),” by Sulaiman Al-Theeb, cultural adviser at the center, was presented during the conference.
He spoke of the Arabian Peninsula’s deep connection with camels through three key concepts: rock and mural art; archaeological finds, like daily tools; and references to camels in ancient Arabic inscriptions, especially Thamudic writings.
Al-Theeb highlighted the significant status of camels in the region, which has earned them the moniker “the ship of the desert.”
Mohammed Al-Rowaily, a member of the Cultural Council at the Abdulrahman Al-Sudairy Cultural Center, said that the Arabic narrative played a crucial role in sharing ideas with others. He noted that Arabic storytelling enhanced cross-cultural understanding by conveying elements from history, oral literature, civilization, arts, and other creative works.
Hajar Al-Shammari, a linguistic researcher in Saudi history, said that the event boosted cultural engagement by fostering dialogue and cultural exchange among academics. Through the sharing of ideas it helped to establish a foundation for field studies and critical analyses focused on Arab perceptions and identity.
Al-Shammari added that Arabic storytelling played a significant role in promoting social cohesion, fulfilling the search for roots, and reinforcing values. This was especially important in the context of cultural identity and Arab heritage.
Moroccan photographer Hassan Hajjaj captures the culture of AlUla
- The acclaimed Moroccan photographer discusses his recent show in Saudi Arabia
DUBAI: Early in February this year, Moroccan contemporary artist and photographer Hassan Hajjaj was given a reminder of just how high his star has risen. Within a few days of each other, Hajjaj had shows opening in the US, Morocco, and — as part of AlUla Arts Festival — Saudi Arabia.
Hajjaj’s playful portraiture, which incorporates vivid color, funky clothing (almost all of which he designs himself), geometric patterns, and — often — vintage brands from the MENA region, has made him internationally popular, and his instantly recognizable style has established him as one of the world’s leading photographers.
His show in AlUla consisted of images that he shot in the ancient oasis town in February 2023. That visit was initially supposed to involve shoots with around 20 local people. It’s the kind of thing he’s done a few times before, including in Oman and Abu Dhabi. “It’s always a good opportunity to get to know the culture and the people,” Hajjaj tells Arab News.
But, as he says himself, he arrived in AlUla as “an outsider,” so needed a team on the ground to persuade locals to come and sit (or stand, in most cases) for him.
“It was a bit tough, in the beginning, for them to find people,” Hajjaj explains. “But because it was during a period when lots of art things were happening in AlUla, there were lots of people coming from outside AlUla as well. So we opened it up. I basically said, ‘Just come.’
“In the end lots of people turned up, not just locals — people from Riyadh, Jeddah, and people (from overseas) too. I think I shot around 100 people over a few days. So it was a great opportunity,” he continues. “To get to shoot that many people over three days — organizing something like that for myself might take a year. So, as long as I have the energy, when I get these opportunities — you know, I’m in AlUla with this eclectic bunch of people — I’d rather go and grind it, really work hard, and have that moment.”
A Hassan Hajjaj shoot isn’t your regular portrait shoot, of course. “It’s almost like a performance,” he says. “There’s music, people dress up, it’s like a day out for them, taking them out of themselves for a few hours.”
He followed the same modus operandi in AlUla. “We got an ambience going. It was fun, there was music… I shot in this beautiful old school that was one of the first girls’ schools in Saudi Arabia, from the Sixties. Upstairs was like a museum — everything was like a standstill from the Seventies and Eighties; even the blackboards had the chalk and the writing from that time,” he says.
A crucial part of Hajjaj’s practice is to ensure that his subjects are at ease and feel some connection with him (“comfortable” is a word he uses several times when talking about his shoots). While all his portraits bear his clearly defined style, it’s important to him that they should also show something unique to the people in them.
“It’s that old thing about capturing the spirit of the person in that split second, you know? I’m trying to get their personality and body language in the image,” he says. “Quite often I’m shooting in the street, outdoors, so (the subjects) can start looking at other people, thinking, ‘Are they looking at me?’ So I usually say, ‘Listen. This is a stage I’m building for you. I’m dressing you up, and we’re going to have fun.’ Then I just try and find that personality that can come out and make the image stronger. With some people, though, saying almost nothing can be better — just getting on with it. I try to kind of go invisible so it’s the camera, not the person, that’s doing the work. The best pictures come out when there’s some kind of comfortable moment between me and the person and the camera.”
It’s the way he’s worked since the beginning — a process that developed organically, as most of his early portraits were of “friends or friends of friends.”
“There’s a comfort in that because you have a relationship with them. It made it easy,” he says. “And that taught me about how important it is to build trust with people to get into that comfortable zone. But as time went on, obviously, people could see the stuff in the press or on social media, so then people started, like, asking to be shot in that manner; maybe they’ve studied the poses of certain people and stuff like that, so they come ready to do some pose they’ve seen in my pictures. That’s quite funny.”
The work that was on display over the past two months in Hajjaj’s “AlUla 1445” is a perfect example of what he tries to achieve with his shoots. The images are vibrant, playful, and soulful, and the subjects run from a local goatherder through the AlUla football team to bona fide superstars: the US singer-songwriter Alicia Keys and her husband Swizz Beatz.
Hajjaj says he has a number of favorites “for different reasons,” including the goatherder.
“He brought in two goats and it became quite abstract when you put all of them together. I was playing with that notion of the person; you could see that’s his life and even the goats look happy,” he explains. “I wanted to make sure they had that shine in the image as well. I got some great shots of him.”
The Alicia Keys and Swizz Beatz shoot has been a long time in the making. Hajjaj first met Swizz Beatz a decade ago, and they have been in touch intermittently ever since. The idea of a shoot with Keys first came up about five years ago, but logistics had always got in the way. But since they were playing a concert in AlUla at the same time as Hajjaj was there, it finally happened, on Hajjaj’s last day, with perhaps an hour left before the light faded.
I ask Hajjaj if his approach to shooting celebrities differs from his shots of “ordinary” people.
“There’s probably not that much difference,” he says. “They’re coming into my world, so, again, it’s just making sure they’re comfortable with you and you’re comfortable with them; not looking at them (as celebrities). The only thing is you have to imagine they’ve been shot thousands of times — by top photographers, too — so they’re going to have their ways. So I just have to lock in with them and find that comfortable space between the sitter and me.”
And then there’s Ghadi Al-Sharif.
“It’s a beautiful picture. She’s got this smile, with her hand over her face. For me, that one really presents the light and the energy of AlUla,” Hajjaj says. “It captures the new generation.”
Jessica Seinfeld donates to pro-Israel counter-protests
- Wife of Jerry Seinfeld backs pro-Tel Aviv campaign at UCLA
- Palestine supporters were attacked on the campus Tuesday
DUBAI: American cookbook author Jessica Seinfeld, the wife of comedian Jerry Seinfeld, is backing a pro-Israel counter-protest at the University of California, Los Angeles.
This initiative comes in response to Tuesday night’s outbreak of violence when a group of people assaulted pro-Palestine protestors in their encampment on campus.
Seinfeld highlighted a GoFundMe campaign on her Instagram page and contributed $5,000.
The majority of donations to the fundraiser have been made anonymously. As of Wednesday, the page had accumulated over $93,000.
Seinfeld explained to her Instagram followers that she had donated to the GoFundMe page to “support more rallies” like the ones at UCLA. Encouraging others to do the same, she wrote: “More cities are being planned so please give what you can.”
Billionaire hedge fund manager Bill Ackman, who has previously spoken out about alleged antisemitism at Harvard, contributed $10,000 to a GoFundMe campaign initiated by Nathan Mo from Beverly Hills.
Muslim organizations and students at UCLA have denounced university officials and law enforcement, alleging that they had failed to intervene as students within the pro-Palestinian encampment faced verbal harassment, pepper spray and physical assault.
