Ordering in with Lugmety: Il Gabbiano and Luqaimat, from Italian risotto to Arabic treats in one day

1 / 3
Luqaimat’s sweet dumplings are the perfect way to end iftar. Supplied
2 / 3
Il Gabbiano’s Italian fare is always a treat. Supplied
3 / 3
Luqaimat’s sweet dumplings are the perfect way to end iftar. Supplied
Updated 13 May 2019
Follow

Ordering in with Lugmety: Il Gabbiano and Luqaimat, from Italian risotto to Arabic treats in one day

  • Food delivery app Lugmety offers customers in Jeddah and Riyadh an array of restaurants within their vicinity
  • It includes homegrown dessert joints

JEDDAH: Let’s face it, when you fast in the month of Ramadan your mind inevitably wonders to thoughts of food and planning your iftar meal can be as exciting as sitting down to enjoy it.

When the designated chefs of the household want a break what could be better than slipping out your smartphone and ordering a hot, fresh meal?

Food delivery app Lugmety offers customers in Jeddah and Riyadh an array of restaurants within their vicinity, including homegrown dessert joints.

I love Italian food so for iftar this week, I decided to go for Il Gabbiano. Although it’s a beautiful restaurant, my guests and I were not willing to drive through the pre-iftar traffic so I scrolled through the Lugmety app and tapped my way to a hot meal.

We chose to treat ourselves to a dish of cotolette di pollo and a risotto all’aragosta. Since we were ordering Italian, we couldn’t resist the tiramisu. We all have a sweet tooth, however, so one dessert just wasn’t enough.

Fortunately, Lugmety allows users to order from more than one restaurant simultaneously — although we couldn't make use of the service, because the restaurant opens after iftar, we got our sweet fix for suhoor..

The mains arrived just in time for iftar and although I was a bit disappointed by the plain aluminum storage boxes used by Il Gabbiano, it was soon forgotten when we tucked in.

The lightly seasoned risotto was delicious and featured perfectly cooked grains topped with tender chunks of lobster meat — it was creamy and flavorful.   

The costolette di pollo was a thin chicken breast coated in bread crumbs and crisped to golden brown perfection with a side of moreish fries and boiled vegetables, which were not overdone and were seasoned to perfection.

With mains out of the way it was time to dig in to the desserts. The soft, smooth tiramisu was melt-in-your-mouth good and boasted a thin layer of cocoa powder dusted on top.

As for the little dumplings of deliciousness from Luqaimat, our pistachio and dark chocolate-topped dough balls were gone within minutes later that evening owing to the crunchy outer layer, the cloud-soft interior and syrupy, hot sauce.


Lebanese filmmaker turns archival footage into a love letter to Beirut

Updated 28 February 2026
Follow

Lebanese filmmaker turns archival footage into a love letter to Beirut

LONDON: Lebanese filmmaker Lana Daher’s debut feature “Do You Love Me” is a love letter of sorts to Beirut, composed entirely of archival material spanning seven decades across film, television, home videos and photography.

The film premiered at the 82nd Venice International Film Festival in September and has since traveled to several regional and international festivals.

Pink Smoke (2020) by Ben Hubbard. (Supplied)

With minimal dialogue, the film relies heavily on image and sound to reconstruct Lebanon’s fragmented history.

“By resisting voiceover and autobiography, I feel like I had to trust the image and the shared emotional landscape of these archives to carry the meaning,” Daher said.

A Suspended Life (Ghazal el-Banat) (1985) by Jocelyne Saab. (Supplied)

She explained that in a city like Beirut “where trauma is rarely private,” the socio-political context becomes the atmosphere of the film, with personal memory expanding into a collective experience — “a shared terrain of emotional history.”

Daher said: “By using the accumulated visual representations of Beirut, I was, in a way, rewriting my own representation of home through images that already existed."

Whispers (1980) by Maroun Bagdadi. (Supplied)

Daher, with editor Qutaiba Barhamji, steered clear of long sequences, preferring individual shots that allowed them to “reassemble meaning” while maintaining the integrity of their own work and respecting the original material, she explained.

The film does not feature a voice-over, an intentional decision that influenced the use of sound, music, and silence.

The Boombox (1995) by Fouad Elkoury. (Supplied)

“By resisting the urge to fill every space with dialogue or score, we created room for discomfort,” Daher said, adding that silence allows the audience to sit with the image and enter its emotional space rather than being guided too explicitly.

 The film was a labor of love, challenging Daher personally and professionally.

“When you draw from personal memory, you’re not just directing scenes, you’re revisiting parts of yourself and your childhood,” she said. “There’s vulnerability in that.”