Lebanese director Pam Nasr discusses her debut film ‘Clams Casino’

A still from the short film 'Clams Casino'. (Supplied)
Updated 09 January 2019
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Lebanese director Pam Nasr discusses her debut film ‘Clams Casino’

DUBAI: “When we see something strange, if we’ve never been exposed to anything like it, we tend to push it away. But I was really interested in this phenomenon. There was so much to discover about it, and I was attracted to the human aspect of why people partake in it and why it’s so popular. Like, why does it exist?”




A still from the short film 'Clams Casino'. (Supplied)

Lebanese filmmaker Pam Nasr is talking about mukbang — a craze that began in South Korea and is basically a live stream of someone eating a large amount of food. Nasr’s first film, a short called ‘Clams Casino,’ which premiered in the region in Dubai last month, is based around the phenomenon. A young woman who lives with her mother, with whom she has a difficult relationship, spends hours collecting seafood, cooking it, setting it out beautifully on the table, and dressing up in order to eat it in front of a webcam.
“It stems from loneliness,” Nasr says. “Mukbang is kind of a solution to loneliness, and — at the same time — these performers make a lot of money from eating online.”
While some viewers, she says, are watching for fetishistic reasons, most “watch it because they’re lonely and they want to have someone to eat with.” Nasr recalls, as a child, arriving home from school each day and dining by herself, as the rest of her family had already eaten.
“I asked my family if someone would wait and eat with me,” she says. “In Lebanon, and in many other cultures too, the art of cooking for someone (and eating together) is such a way of delivering your love to them. So I really connected to this when I was studying Mukbang. It was a beautiful learning curve for me. And I hope for many others who watch ‘Clams Casino.’”




Filmmaker Pam Nasr. (Supplied)

The Q&A session that followed the Dubai screening was the longest she’s had so far (having toured several festivals in America with the movie). “A lot of people really connected to it and understood what I was doing.” In particular, Nasr was moved by an exchange with a young college student who told her that a friend in college had been going through a tough time and was watching a lot of mukbang.
“She was very tearful. She said that after watching my film, she understood her friend a lot more. My heart went out to her,” Nasr says. “There were a lot of intimate moments like that at the screening. It was really beautiful.”


OPINION: Saudi Arabia’s cultural continuum: from heritage to contemporary AlUla

Updated 12 February 2026
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OPINION: Saudi Arabia’s cultural continuum: from heritage to contemporary AlUla

  • The director of arts & creative industries at the Royal Commission for AlUla writes about the Kingdom’s cultural growth

AlUla: Saudi Arabia’s relationship with culture isa long and rich. It doesn’t begin with modern museums or contemporary installations, but in the woven textiles of nomadic encampments, traditional jewellery and ceramics, and of course palm‑frond weaving traditions. For centuries, Saudi artisans have worked with materials drawn directly from their environment creating objects that are functional, but also expressions of identity and artistry.

Many of these traditions have been recognised internationally, with crafts such as Al-Sadu weaving inscribed on UNESCO’s Intangible Cultural Heritage list.

Sadu weaving. (Getty Images)

This grounding in landscapes, resources, and collective history means Saudi Arabia’s current cultural momentum is not sudden, but the natural result of decades — even centuries — of groundwork. From the preservation of heritage sites and, areas, some of which have been transformed into world-renowned art districts, to, the creation of institutions devoted to craft, the stage has been set for a moment where contemporary creativity can move forward with confidence, because it is deeply rooted.

AlUla, with its 7,000 years of human history, offers one of the clearest views into this continuum. Millennia-old inscriptions at Dadan and Jabal Ikmah stand alongside restored mudbrick homes in Old Town and UNESCO-listed Hegra. In the present, initiatives like Madrasat Addeera carry forward AlUla’s craft traditions through design residencies and material research. And, each winter, the AlUla Arts Festival knots these threads together, creating a season in which heritage and contemporary practice meet.

Hamad Alhomiedan, the director of arts & creative industries at the Royal Commission for AlUla. (Supplied)

This year, that dialogue began in the open desert with Desert X AlUla 2026. Now in its fourth edition, the exhibition feels like the pinnacle of the current moment where contemporary art, heritage, and forward-thinking meet without boundaries. The theme of Desert X AlUla 2026 was “Space Without Measure,” inspired by the work of Lebanese-American artist and writer Kahlil Gibran[HA1] [MJ2] . The theme invited artists to respond to the horizons of AlUla’s landscape and interpret its wonder through their perspective.

Works by Saudi and international figures converse directly with nature: Mohammed Al-Saleem’s modernist sculptures bring in celestial-inspired geometry; Maria Magdalena Campos-Pons translates the colour of AlUla’s sunsets; Agnes Denes “Living Pyramid” turns the oasis into a vertical landscape of indigenous plants, . The 11 artists of this year’s edition were able to capture AlUla’s essence while creating monumental works that speak directly to our relationship with the environment. 

Artist Performance at Desert X AlUla 2026 by Maria Magdelena Compos Pons and Kamaal Malak. (Courtesy of Arts AlUla and AlUla Moments)

In AlJadidah Arts District, “Material Witness: Celebrating Design From Within,” features heritage craft and material research from Madrasat Addeera alongside work by regional and international designers, showing how they translate heritage materials into contemporary forms.[HA3] [MJ4] 

Music adds another element of vitality, filling the streets of AlJadidah Arts District, with performances supported by AlUla Music Hub, featuring local musicians.

The opening of “Arduna,” the first exhibition presented byof the AlUla Contemporary Art Museum, co-curated with France’s Centre Pompidou, adds another layer to this conversation. Featuring Saudi, regional, and international artists, from Picasso and Kandinsky to Etel Adnan, Ayman Zedani and Manal AlDowayan, the [HA5] [MJ6] exhibition signals the emergence of a global institution rooted in the heritage and environment of AlUla, placing local voices in context with world masters.

Each activation in this year’s AlUla Arts Festival is part of the same Saudi cultural continuum, . This is why the Kingdom’s cultural rise feels different from rapid developments elsewhere. The scale of cultural infrastructure investment is extraordinary, but its deeper strength lies in how that investment connects to living traditions and landscapes.

The journey is only accelerating. Rooted in heritage yet open to the world, the Kingdom’s cultural future is being shaped not by sudden inspiration, but by our traditions and history meeting the imagination and creative voices of our present.