Saudi Arabia makes bold debut at SXSW London

Kingdom’s Film Commission will participate in the first European edition of the SXSW Festival. (Supplied)
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Updated 03 June 2025
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Saudi Arabia makes bold debut at SXSW London

DUBAI: SXSW has taken off this week in London, with the Saudi Film Commission hosting a series of exciting cultural events.

Originating in Austin, Texas, this is the South by Southwest festival’s first edition in London — and notably, the Kingdom’s debut at the renowned indie film showcase, the Saudi Press Agency reported recently.

The Saudi Film Commission, in collaboration with SXSW, will present a curated selection of short films as a part of the “Saudi Film Nights” initiative.

Under the umbrella of Vision 2030, this program supports the Kingdom’s broader effort to diversify its economy, with particular emphasis on growing its entertainment sector.

The Kingdom’s pavilion, known as The Sadu House, will also spotlight contributions from the Music Commission, Culinary Arts Commission, and Fashion Commission, showcasing Saudi Arabia’s rich and diverse cultural landscape to a global audience.

In addition, the commission will host a panel discussion titled “Empowering the Film Industry in Saudi Arabia: From Vision to Reality.” The session will delve into cinema’s role in shaping national identity, preserving heritage, and advancing Saudi content as a powerful cultural tool.

Each day of the festival will feature a showcase of emerging Saudi talent.

On June 3, for example, SXSW attendees will experience a taste of Saudi hip-hop with performances by AZIZ.wav, SHANCOTY, and JEED — artists known for their unique blend of hip-hop flair, Afrobeat influences, and slow R&B tones.

On June 4, the Kingdom will shift gears and present its underground heavy music scene with performances by death metal bands Wasted Land, Sijeel, and Gimmix, marking a bold introduction of Saudi rock to the SXSW stage.

In addition to performances, festivalgoers can attend cultural panels featuring industry professionals from across the Arab world. Topics include female leadership, entrepreneurial ambition, and the evolution of Saudi Arabia’s film industry.

The opening panel on June 3 is titled “Vision 2030: Cultural Opportunities for Social and Economic Transformation,” which will explore the potential of Saudi Arabia’s cultural power.

Day two will feature a session “Fashion Future Platform: How Data Informs Investment Decisions,” offering a deep dive into the intersection of fashion and data-driven innovation.

Another session on day two, “WWD Female Empowerment – Challenges Facing Women Creatives in a Male-Dominated World,” will spotlight the obstacles and breakthroughs for women in the creative sector.

Finally, day three will have a panel “Sustainability – Challenges of Creating Green Fashion and Beauty in a Throwaway World,” which will underscore the need for sustainability in the industry.


Lebanese filmmaker turns archival footage into a love letter to Beirut

Updated 28 February 2026
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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.”