Saudi artist Muhannad Shono to take part in California’s 2025 Desert X
Updated 31 January 2025
Arab News
DUBAI: Saudi artist Muhannad Shono has been selected to take part in the fifth edition of Desert X, the international site-specific art exhibition which will take place across California’s Coachella Valley from March 8 to May 11.
Produced by non-profit organization The Desert Biennial, the event will feature artistic talent from across Asia, Europe, the Americas and the Middle East.
Shono’s work, “What Remains,” explores the ever-changing nature of identity and land. (Supplied)
Curated by artistic director Neville Wakefield and co-curator Kaitlin Garcia-Maestas, the 2025 iteration will feature themes of temporality and nonlinear narratives of desert time.
Shono’s work, “What Remains,” explores the ever-changing nature of identity and land. The piece features long strips of fabric infused with native sand, allowing them to move freely with the wind. As the wind shifts, the fabric twists and reshapes while the sand forms dunes.
Muhannad Shono, "On this Sacred Day." (Supplied)
“The land of Desert X is no longer the mythical and endless expanses of the American West but has come to include the effects of our ever-growing human presence,” said Wakefield.
“Artists continue to be inspired by the idea of unadulterated nature but … they have also come to recognize that this is an idea and that the realities of the world we live in now are both more complex and contested. Time, light and space permeate every aspect of this work but so too does an urgency to find new sustainable approaches to living in an increasingly imperiled world.”
Desert X, California. (Supplied)
The full list of participating artists is as follows: Sanford Biggers, Los Angeles, California; Jose Davila, Guadalajara, Mexico; Agnes Denes, Budapest, Hungary; Cannupa Hanska Luger, Mandan, Hidatsa, Arikara and Lakota, b. Standing Rock Reservation, North Dakota, based in Glorieta, New Mexico; Raphael Hefti, Neuchatel, Switzerland; Kimsooja, Daegu, Korea; Kapwani Kiwanga, Hamilton, Canada; Sarah Meyohas, New York; Ronald Rael, Conejos Country, US; Alison Saar, Los Angeles, California; Muhannad Shono, Riyadh, Saudi Arabia.
Akio Fujimoto discusses RSIFF Golden Yusr winner ‘Lost Land’
The Japanese filmmaker on his groundbreaking Rohingya-language feature
Updated 19 December 2025
Shyama Krishna Kumar
JEDDAH: Some stories demand to be told. Not just as narratives, but as acts of witness.
Japanese filmmaker Akio Fujimoto’s “Lost Land” is one such story. Billed as the first feature film in the Rohingya language, the movie took home the top prize — the Golden Yusr — at this year’s Red Sea International Film Festival.
“Lost Land” — which premiered in the Horizons section at this year’s Venice Film Festival, where it won the special jury prize — follows two young Rohingya siblings, Somira and Shafi, fleeing persecution in Myanmar as they undertake a perilous journey d to join their uncle in Malaysia.
Shomira Rias Uddin (R) and Muhammad Shofik Rias Uddin in 'Lost Land.' (Supplied)
Presenting the Golden Yusr to Fujimoto, RSIFF jury head, the US filmmaker Sean Baker, said the film “confronts the plight of displaced children with unflinching empathy and poetic urgency.”
Fujimoto’s journey to this film is a profound narrative of personal reckoning. Having worked in Myanmar for more than a decade, he recognized the unspoken tensions surrounding discussions about refugee experiences but never spoke out himself due to fear of persecution. The 2021 military coup in Myanmar, he said, forced him to confront a lingering sense of guilt about his previous silence on the subject.
“Looking back on my decade of work, I realized I had been avoiding topics I wanted to focus on as a filmmaker,” Fujimoto said in an interview with Arab News at RSIFF.
That self-reflection became the catalyst for “Lost Land,” transforming personal hesitation into a powerful act of cinematic storytelling.
Eschewing traditional casting methods, Fujimoto discovered his lead actors through serendipity during community fieldwork. Shomira Rias Uddin and Muhammad Shofik Rias Uddin, real-life siblings who play the film’s young leads, were found walking near interview locations, compelling the filmmaker to reshape the entire script around their natural chemistry. While the original script was written with two teenage brothers in mind, the discovery of the Rias Uddin siblings led Fujimoto to alter the script significantly.
Communication between the cast and crew became an intricate dance of translation and cultural bridge-building. With Fujimoto speaking primarily Japanese and some Burmese, the team relied on Sujauddin Karimuddin, a Rohingya translator who did far more than linguistic conversion. “He wasn’t just translating words but conveying messages, creating trust, and establishing a collaborative atmosphere,” said Watanabe, Fujimoto’s translator.
One of the most remarkable aspects of “Lost Land” is its linguistic significance. Beyond being a narrative, the film serves as a critical instrument of cultural preservation. Karimuddin, who is also a producer on the film, approached his role like a linguistic curator. “As a Rohingya myself, I had the privilege of choosing words carefully, trying to instill poetry, capturing linguistic nuances that are slowly disappearing. So, the film is very important when it comes to the preservation of a people’s language. It was a privilege for me to contribute to it,” he said.
As they were making the first fiction film focused on Rohingya experiences, the team felt an immense responsibility. “Lost Land” aims to humanize a community often reduced to statistics, giving voice and complexity to individual experiences.
Shomira Rias Uddin and Muhammad Shofik Rias Uddin (R) in 'Lost Land.' (Supplied)
“In our film, we had around 200 people — including extras — who were all part of the Rohingya community. I felt in order to show their feelings and their voice; it was really important to bring in the Rohingya people and tell the story together with them,” said Fujimoto.
For Fujimoto, whose previous films include “Passage of Life” (2017) and “Along the Sea” (2020), the film represents more than an artistic achievement. It’s a form of personal and collective redemption. “I can now clearly talk about these people without hesitation,” he said.
The filmmaker’s future ambitions involve expanding on this project. He sees “Lost Land” as a crucial first step, and hopes to support Rohingya filmmakers in telling their own stories directly.
“The next phase is bringing narratives from the Rohingya perspective, directed by Rohingya filmmakers,” he said.
