Recipes for success: Chef Ilias Kokoroskos of Dubai’s Mythos restaurant offers advice and a tasty lamb pilafi recipe 

Chef Ilias Kokoroskos is the head chef at Dubai's Mythos, an award-winning Greek eatery. (Supplied)
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Updated 02 March 2023
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Recipes for success: Chef Ilias Kokoroskos of Dubai’s Mythos restaurant offers advice and a tasty lamb pilafi recipe 

DUBAI: In 2010, during the Greek debt crisis, Chef Ilias Kokoroskos was asked a random question after service by his mentor that would forever change his culinary career: Would he want to go to Dubai? The stint was supposed to last for six months, but there was a change in plans and heart. “I ended up being here 13 years,” Kokoroskos tells Arab News.  

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

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Raised between the Greek island of Crete and Athens, the cheerful chef’s passion for cooking began at around 15 years old. He went to cooking school and worked briefly as a chef de partie in Belgium. “I was falling in love with the process of how you treat the food, from taking it from the producer to making the end product,” he says. 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

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In Dubai, he is currently head chef of six restaurants, including Mythos, a popular, award-winning Greek eatery. The venue’s warm and earthy tones, verdant terraces, and traditional chairs, large pots, and flooring (all imported from Greece) transport diners to the Mediterranean country, creating a relaxing and authentic atmosphere.  

“I’m very proud about Greek food in Dubai,” Kokoroskos says. “It kind of restores Greek pride because, back in the day, in other countries, Greek food wasn’t so good. We had a very bad reputation. People thought that Greek food was only gyros, moussaka, and Greek salad — when it’s not only that.”  

Kokoroskos has crafted a diverse menu that presents vegetables, meats, and seafood in a fresh manner, imbued with Greek flavors.  

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

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Apart from the healthy properties of Greek cuisine, what makes it stand out, in the eyes of Kokoroskos, is its simplicity; you can whip up a dish using two to four ingredients. “It’s more difficult to make something good and simple than something complicated,” he says.  

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

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Here, Kokoroskos discusses family food memories, kitchen regrets, and shares his recipe for suckling lamb pilafi. 

Q: What’s your earliest food memory? 

A: The family table, especially in the countryside with my mother, father, sister, grandmother, grandfather… It was a nice feast of food. As for actually cooking food, I remember making something very simple — just pasta with butter. But I wanted it to be perfect.  

When you started out as a professional, what was the most common mistake you made? 

I tried to put a lot of ingredients in a dish — a bit of this, a bit of that, I did this, I did that… It ended up being something that was not actually nice — and not me.  

What one ingredient can instantly improve any dish? 

It’s not an ingredient that you can actually find in the market. It’s consistency and balance.  

What’s your top tip for amateur chefs? 

For amateurs, nothing. Because amateurs are cooking for themselves or families, because they love it. I have the biggest respect for them. For new chefs coming into the industry, I’d tell them what I did: Don’t look for positions, don’t chase the money, don’t grow up very fast. When you’re building something very fast, it’s very easy to fall down. Work hard and focus on the kitchen.  

Are you a disciplinarian in the kitchen? Do you shout a lot? Or are you more laidback? 

For me, a kitchen should be disciplined like an army. Imagine running a kitchen with 20-25 people inside and everybody’s doing whatever they want. It would be chaos. We have fun, when the time is right. I used to shout a lot. (Laughs.) I regret it now, but now I think I’m more fair. 

What customer behavior most annoys you?  

Ahh... What annoys me is when someone says, “I don’t want this ingredient on this dish.” I think that’s the nightmare of any chef. I’ve put effort and love into this dish. There’s a reason why each ingredient is there.  

What’s your favorite dish to cook? 

Anything to do with baking, like bread and pies.  

When you go out to eat, do you find yourself critiquing the food?   

Not really. I like going out and enjoying myself with my friends or my wife. I cannot criticize the food because I do not know what the chef had in his or her mind. I respect what they’re putting on the table. . . I respect that it might have been a bad day. We all have bad days.  

Chef Ilias’ suckling lamb pilafi 

The lamb: 

INGREDIENTS: 1 lamb shoulder, whole with the bone; 3 onions; 2 tomatoes; water; sea salt; olive oil 

INSTRUCTIONS:  

1. Place a pot over high fire and put the lamb shoulder in, cover with water, bring to the boil. 

2. Reduce the heat to medium and clear the scum. Simmer on medium heat for two hours. 

3. Add the whole tomatoes and onions to the pot and boil until the meat falls of the bone. 

4. Remove the lamb from the stock, season with sea salt and olive oil and set aside. 

5. Strain the stock and set aside. 

6. Chop the tomatoes and onions and keep them aside. 

The rice: 

INGREDIENTS: 200g Arborio rice; 1 medium onion, chopped; 500g chicken stock; 200g lamb stock; 130g olive oil; 2 tbsp wild oregano, fresh; 70g kefalograviera cheese 

INSTRUCTIONS:  

1. Add 80g of olive oil and the onion to a shallow pot over medium heat. Sauté until onion is translucent. Add rice and continue to heat until the rice is also lightly translucent. 

2. Slowly add the chicken stock in four stages, while stirring. 

3. Add the lamb stock slowly, in two stage. By that time, the rice should be cooked but still have a slight bite to it – not al dente, but one stage further. 

4. Add the wild oregano, the chopped boiled onion and tomato, the rest of the olive oil, and 50g of kefalograviera cheese. Heat until the rice is creamy. 

5. Place the rice on a plate, top with the lamb and the rest of the cheese. Serve. 

 


Saudi Film Festival ends with honors for best production, music, acting

Updated 10 May 2024
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Saudi Film Festival ends with honors for best production, music, acting

  • Kingdom’s acclaimed wildlife documentary ‘Horizon’ and film ‘Hajjan’ win top awards

DHAHRAN: The red carpet was rolled out on the final night of the eight-day 10th Saudi Film Festival on Thursday with awards handed out for best production, music and acting.

The event, held at King Abdulaziz Center for World Culture, or Ithra, had included masterclasses, workshops, book signings and networking opportunities.

The event was held at King Abdulaziz Center for World Culture. (Supplied)

The closing ceremony was a glamorous event, as presenters handed out the Golden Palm awards on stage.

Of the 76 films that were screened, 53 titles competed for 36 awards.

The closing ceremony was a glamorous event. (Supplied)

The acclaimed 2024 wildlife documentary “Horizon” won in its category. It was produced by the Konoz Initiative in collaboration with the Ministry of Media’s Center for Government Communication and the National Center for Wildlife.

Ithra’s own award-winning “Hajjan,” about a young camel rider, won for best music, best actor for the young star Omar Alatawi, and best actress for Tulin Essam. The film also won the Jury Golden Palm.

Of the 76 films that were screened, 53 titles competed for 36 awards. (Supplied)

One of the big winners on the night was the documentary shown at the opening ceremony of the festival on May 2, “Underground,” about the music scene in Saudi Arabia.

The list of winners and the recorded stream are available on the Ithra website.


Highlights from the Middle East Institute’s ‘Louder Than Hearts’ in Washington DC

Updated 10 May 2024
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Highlights from the Middle East Institute’s ‘Louder Than Hearts’ in Washington DC

DUBAI: The Middle East Institute in Washington DC is hosting works by female photographers from the Arab world. 

Tasneem Al-Sultan 

‘Diversity Within Saudi Weddings’ 

The acclaimed Lebanon-born Palestinian-American photographer Rania Matar has curated “Louder Than Hearts,” an exhibition of work by 10 female photographers, including herself, from the Arab world and Iran that runs at the Middle East Institute in Washington DC until October 4. Saudi Arabia is represented by Riyadh-based “visual storyteller and photographer” Tasneem Al-Sultan, specifically her “Saudi Tales of Love” series, which, the MEI says, is “informed by her personal journey through marriage and divorce.” 

In wedding images such as this one, Al-Sultan “depicts the constructs and expectations of marriage, including the elaborate ceremonies, as well as the various societal constraints the Saudi women she photographed faced and triumphed over” and “delves into the complexities of relationships and the interplay of tradition and individual choice.”  

The series has garnered global recognition for Al-Sultan, featuring in Time’s “Lightbox” photo series and the international photography fair Paris Photo. 

Rania Matar 

‘Farah (In Her Burnt Car)’ 

Matar’s photography, the MEI states, “captures intimate moments that transcend borders and cultures and explores themes of personal and collective identity through photos of women in the US and the Middle East.” 

The series to which this image belongs — “Where Do I Go? Fifty Years Later” — began after the devastating explosion in Beirut Port in August 2020, and the title alludes to the fact that 2025 will be the 50th anniversary of the beginning of Lebanon’s civil war. The wave of emigration that followed the 2020 explosion was “akin to that of 1984-85 when a wave of young people including herself left the war-stricken country. By photographing these women, Matar was relating to their experiences and their dilemma of immigration (decades) later.” 

Rehaf Al-Batniji  

‘Malak’ 

This image comes from Paris-based, Gaza-born photographer Al-Batniji’s series titled “(Shatt) The Beach & (Shatta) The Chili Pepper,” a project that explores “the social and cultural anthropology” of her hometown. Shatta is a major ingredient in Palestinian cuisine, and “emblematic of Gaza, where life’s challenges can sting like this fiery spice,” while shatt is “the serene beach where residents seek solace and escape their daily reality.”  

Al-Batniji’s work, the MEI states, “offers an intimate portrayal of the territory, reflecting the struggles and intensity of life under siege, as well as the resilience and vibrancy of its communities with refreshing hopefulness. Al-Batniji rejects the brutal imagery of conflict and instead uses color as a tool of resistance.” 

Carmen Yahchouchi 

‘Victoria’ 

Mali-born Lebanese photographer Yahchouchi has work from three of her series in the exhibition, all of which “capture the enduring impact of the Lebanese Civil War on women, highlighting their pivotal roles in the middle of chaos and devastation,” the MEI’s promotional material states. “Her work offers glimpses into their resilience, strength and sacrifice as they navigated through tumultuous periods of history emerging as heroines within their communities and families and assuming new roles in the public sphere.” This piece is from her series “My Mother’s Gun,” and demonstrates Yahchouchi’s talent for photographing “the intimate spaces of human experience, inviting viewers into her subjects' unique worlds.” 

Tanya Habjouqa  

‘Inner Resistance’ 

The Jordanian photographer and journalist, who lives and works in East Jerusalem, “melds a mordant sense of irony with an unyielding examination of the repercussions of geopolitical conflicts on people’s lives,” according to the MEI. This image comes from her “Occupied Pleasures” series, which, the institute says, “presents a multidimensional portrayal of humanity’s ability to find joy amid adversity in the West Bank, Jerusalem, and Gaza, utilizing a sharp sense of humor about the absurdities produced by a 47-year occupation.” 


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.”