Lee Majdoub on taking the lead role in the latest ‘Assassin’s Creed’ game

“Assassin’s Creed: Mirage” is the latest installment in the Ubisoft’s acclaimed blockbuster series. (Supplied)
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Updated 13 October 2023
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Lee Majdoub on taking the lead role in the latest ‘Assassin’s Creed’ game

  • ‘It’s been a genuinely profound experience,’ says the Lebanese-Canadian actor

DUBAI: As we have seen time and again, it is still difficult for many in the international community to put themselves in the shoes of the Arab people. While cinema has long been an important tool to broaden perspectives, video games have a power we’re only just starting to discover. For a new generation, there is no more empathetic experience than guiding a character’s journey through the controller in your hand. And for representation, that could become a true game changer.  

In “Assassin’s Creed: Mirage,” the latest installment in the Ubisoft’s acclaimed blockbuster series, which released globally last week, players find themselves immersed in Arab and Muslim culture with a level of respect the medium has never seen before. Set in 9th-century Baghdad, the game follows Basim Ibn Ishaq, one of the most complex characters in the franchise’s history. And, significantly, he’s voiced by an Arab: Lebanese-Canadian actor Lee Majdoub.  

“It means the world to me,” Majdoub tells Arab News. “The world is experiencing the beauty of the Arabic language, the depth and diversity of Middle Eastern culture, all produced with such love and care by people who put authenticity at the forefront. 




Majdoub’s star has risen quickly over the last few years. (Supplied)

“Middle Eastern and North African communities still have so much difficulty getting seen as three-dimensional people. In media, that’s held true for a long time as well. A game like ‘Mirage’ is such a treat in that sense. I’ve found myself more deeply moved by video games in the last few years than any movie or show. They’re immersive — you’re not just seeing the world through their eyes, you are them. That affects you deeply. And bringing that power to Basim’s story, to an Arab story, was a responsibility for all of us.” 

Majdoub’s star has risen quickly over the last few years, after what was supposed to be a bit part as Agent Stone in 2020’s “Sonic the Hedgehog” film — itself based on a video game franchise — became a cult favorite with the series’ massive fanbase. By the time the second film was released in 2022, his character was a pillar of the story, and Majdoub was given his own posters that were plastered across the world to promote a film that ended up in the top 10 highest grossers globally last year. 

Those posters were particularly moving for Majdoub, who was born in Lebanon and grew up in the US and Canada in the early 2000s. It was a time in which he desperately needed a face that looked like his own positively represented in a culture that primarily depicted Arabs as terrorists. Without it, he spent much of his youth turning away from his identity, refusing to speak Arabic for many years and burying his heritage deep within himself.  




“Assassin’s Creed: Mirage” was released globally last week. (Supplied)

“There was a lot of turmoil in me,” Majdoub admits. “I’ve had a long journey to find a way to love being Lebanese, Middle Eastern, Arab.” 

Then, as fate would have it, a desire to rediscover his heritage awoke within him just months before he was approached for his “Assassin’s Creed” role. 

“I had this sudden realization. I called my mother and told her, ‘I want to learn to read and write Arabic again.’ She was so excited. We’d spend four days a week on WhatsApp video relearning the alphabet, learning to read like I was in grade school — sounding things out and getting frustrated. But I was determined, and slowly got better and better until I could speak and read confidently again,” says Majdoub.  

“And then ‘Mirage’ came, and the team immediately asked me, ‘Do you speak the language?’ All I could think was, had they come to me a year earlier, that would have been a very different conversation,” Majdoub continues with laugh. 

His journey to find himself, it turned out, was fitting for the project in more ways than one. Basim was last seen in “Assassin’s Creed: Valhalla” as the game’s secret villain, a man who had turned to darkness later in life. “Mirage” is set a dozen years earlier, finding him still full of light and in pursuit of justice, an emotional state that Majdoub could relate to.  




Majdoub (right) with Jim Carrey in 'Sonic The Hedgehog 2.' (Supplied)

“This is the story of someone trying to find who they are, trying to do what’s best for others, which I identified with. I’m also trying to figure out what’s best for me — to come to terms with the man I am, in more ways than just my identity. There’s this constant struggle of trusting the path, but also feeling you need to take control, and then learning to let go of control. Basim is on this cycle, and I find myself there as well,” he explains. “In this story, he’s trying to forge his own path. But at the same time, he wants to do what's best for everybody. I think that push and pull is something a lot of us have experienced. We ask ourselves, ‘Where do I fit in? How do I do what’s right by me, and by my loved ones?’ Those are questions that have helped me reach where I am today, and are still guiding me.”  

As the team at Ubisoft worked to recreate ancient Baghdad, doing an unprecedented amount of research on an area that is not nearly as well documented as previous settings for the game, they worked closely with experts to ensure that the game was as close to the lived reality as possible, which meant honoring the culture, the language, and the profound religious faith of the Islamic Golden Age. With Majdoub immersed in that landscape, he continued his journey of cultural self-discovery in a way he would never have dreamed of during those video calls with his mother.  

“It’s been a genuinely profound experience. After having voiced a character like Basim, and now watching all the cinematics, hearing the music, seeing the Arabic calligraphy and exploring the design, it’s hard to not to feel more connected, and to feel even more proud to be a part of the legacy of this incredibly multi-faceted region and its people in some small way,” says Majdoub.  

“Now that it’s out and I’ve finally had a chance to start playing it, I’ve also been struck by something I wasn’t expecting. I’ve been feeling this weird sadness. It’s made me realize I haven’t been back to Lebanon in a long time, and there’s so many parts of the Middle East I’ve never explored. It’s wonderful to take a journey in this game, but now I want to forge a deeper connection,” he continues. “This is the place that I come from, and now I need to go on an adventure of my own.” 


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.”