Diwan Kitchen brings Saudi soul to North London

Diwan Kitchen is a new restaurant serving Saudi cuisine in London. (AN Photo)
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Updated 08 May 2025
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Diwan Kitchen brings Saudi soul to North London

  • The UK capital’s latest Saudi restaurant drew the crowds for its opening night

LONDON: North London just got a little warmer. On May 1, at 510 Holloway Rd, the heart of the Kingdom found a new home in the UK capital. With oud music drifting through the air and the scent of spiced lamb and simmering wheat pulling people in from the street, Diwan Kitchen opened its doors to the public.

The new Saudi restaurant isn't just serving food. It’s telling stories.

The interiors are a soft, glowing tribute to the Kingdom’s past. From carved wood panels evoking the mudbrick homes of Najd, to vibrant fabrics and lanterns echoing the coastal souqs of Hijaz, every corner of Diwan Kitchen feels like a page from a living history book.




Guests on the restaurant's opening night. (AN Photo)

Those traditional mudbrick homes of Najd, designed to keep cool in scorching summers and warm in desert winters, weren’t just shelters; they were social spaces, built around courtyards, where family, memory, and hospitality were the foundation of daily life.

“We wanted to show people what traditional Saudi dining is like” Adem Nasraddin, co-founder of the restaurant, told Arab News. “There’s a rhythm to Saudi life. A scent, a pace, a flavor. We bottled that feeling and served it on a plate.”

And what a plate it is. The tasting menu is a culinary journey across the Kingdom. You can start in Hijaz, with motabag — pan-fried pastries that are light and crisp and deeply comforting. Whether filled with spiced vegetables, gooey cheese, or minced beef, each bite transports you to a Jeddah street corner at sunset.

There’s foul medammas, a creamy mash of fava beans seasoned the Hijazi way: with garlic, lemon, and cumin. And tamees bread; hot and soft, made for tearing and sharing — just as it should be.




The restaurant serves authentic Saudi cuisine. (AN Photo)

The main courses venture into the windswept heartlands of Najd, with jareesh, a dish made from crushed wheat, simmered with tomatoes and onion, that tastes like something a Bedouin grandmother would proudly serve you under an open sky. Alongside it is marqooq, a rich, flat-dough stew that has nourished generations through long desert nights.

Of course, no Saudi table would be complete without rice. Diners can choose between kabsa — the fragrant national treasure of the central regions — and mandi, with its delicate smoke, hailing from the misty mountains of Asir and the southern valleys.

Then comes saleeg, a creamy rice dish from Taif, cooked in milk and broth and topped with tender chicken. It's the kind of meal that slows you down, insisting you stay a little longer.

“My experience has been that it’s completely authentic,” one Saudi guest, Fahad Habib, told Arab News. “It feels like I’m back home.”

Beyond the menu, Diwan Kitchen is a space built on memory and modernity. Saudi music played at the launch, and as guests chatted over cardamom coffee and dates, the atmosphere was part-family gathering, part-culinary pilgrimage.

The opening night drew a mixed crowd — Saudis living in London, curious neighbors from Holloway Road, and food lovers eager to explore a cuisine that’s still underrepresented in the UK. For many, it was more than just a meal; it was a chance to connect with a culture through flavor, memory, and setting.


Producer Zainab Azizi hopes ‘Send Help’ will be a conversation starter

Updated 31 January 2026
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Producer Zainab Azizi hopes ‘Send Help’ will be a conversation starter

DUBAI: Afghan American film producer Zainab Azizi cannot wait for audiences to experience Sam Raimi’s new horror comedy “Send Help.”

In an interview with Arab News, the president at Raimi Productions kept returning throughout her interview to one central theme: the communal thrill of horror.

“I started watching horror from the age of six years old. So, it’s kind of ingrained in my brain to love it so much,” she said, before describing the formative ritual that still shapes her work: “What I loved about that was the experience of it, us cousins watching it with the lights off, holding hands, and just having a great time. And you know, as an adult, we experience that in the theater as well.”

Asked why she loves producing, Azizi was candid about the mix of creativity and competition that drives her. “I’m very competitive. So, my favorite part is getting the film sold,” she said. “I love developing stories and characters, and script, and my creative side gets really excited about that part, but what I get most excited about is when I bring it out to the marketplace, and then it becomes a bidding war, and that, to me, is when I know I’ve hit a home run.”

Azizi traced the origins of “Send Help” to a 2019 meeting with its writers. “In 2019 I met with the writers, Mark and Damien. I was a fan of their works. I’ve read many of their scripts and watched their films, and we hit it off, and we knew we wanted to make a movie together,” she said.

From their collaboration emerged a pitch built around “the story of Linda Little,” which they developed into “a full feature length pitch,” and then brought to Raimi. “We brought it to Sam Raimi to produce, and he loved it so much that he attached to direct it.”

On working with Raimi, Azizi praised his influence and the dynamic they share. “He is such a creative genius. So, it’s been an incredible mentorship. I learned so much from him,” she said, adding that their collaboration felt balanced: “We balance each other really well, because I have a lot of experience in packaging films and finding filmmakers, so I have a lot of freedom in the types of projects that I get to make.”

When asked what she hopes audiences will take from “Send Help,” Azizi returned to the communal aftermath that first drew her to horror: “I love the experience, the theatrical experience. I think when people watch the film, they take away so many different things. ... what I love from my experience on this film is, especially during test screenings, is after the film ... people are still thinking about it. Everybody has different opinions and outlooks on it. And I love that conversation piece of the film.”