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‘No Other Land’, a collaboration of Israeli and Palestinian filmmakers, wins Oscar for best documentary

‘No Other Land’, a collaboration of Israeli and Palestinian filmmakers, wins Oscar for best documentary
Basel Adra, Rachel Szor, Hamdan Ballal and Yuval Abraham accept the Oscar for Best Documentary Feature Film for "No Other Land" during the Oscars show in Hollywood, Los Angeles, on March 2, 2025. (REUTERS)
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Updated 03 March 2025

‘No Other Land’, a collaboration of Israeli and Palestinian filmmakers, wins Oscar for best documentary

‘No Other Land’, a collaboration of Israeli and Palestinian filmmakers, wins Oscar for best documentary
  • “No Other Land” highlights Palestinian activists fighting to protect their communities from demolition by Israeli military
  • The documentary has not found a US distributor after being picked up for distribution in 24 countries

LOS ANGELES: “No Other Land,” the story of Palestinian activists fighting to protect their communities from demolition by the Israeli military, won the Oscar for best documentary on Sunday.
The collaboration between Israeli and Palestinian filmmakers follows activist Basel Adra as he risks arrest to document the destruction of his hometown, which Israeli soldiers are tearing down to use as a military training zone, at the southern edge of the West Bank. Adra’s pleas fall on deaf ears until he befriends a Jewish Israeli journalist who helps him amplify his story.
“About two months ago, I became a father, and my hope to my daughter that she will not have to live the same life I’m living now, always fearing settlers, violence, home demolitions and forcible displacements,” said Adra.
“No Other Land” came into the night a top contender after a successful run on the film festival circuit. It did not, however, find a US distributor after being picked up for distribution in 24 countries. For the Oscar, it beat out “Porcelain War,” “Sugarcane,” “Black Box Diaries” and “Soundtrack to a Coup d’État.”




Basel Adra, Rachel Szor, Hamdan Ballal and Yuval Abraham accept the Oscar for Best Documentary Feature Film for "No Other Land" during the Oscars show in Hollywood, Los Angeles, on March 2, 2025. (REUTERS)

The documentary was filmed over four years between 2019 and 2023, wrapping production days before Hamas launched its deadly Oct. 7, 2023 attack on Israel that started the war in Gaza.
In the film, Israeli journalist Yuval Abraham embeds in a community fighting displacement, but he faces some pushback from Palestinians who point out his privileges as an Israeli citizen. Adra says he is unable to leave the West Bank and is treated like a criminal, while Abraham can come and go freely.
The film is heavily reliant on camcorder footage from Adra’s personal archive. He captures Israeli soldiers bulldozing the village school and filling water wells with cement to prevent people from rebuilding.
Residents of the small, rugged region of Masafer Yatta band together after Adra films an Israeli soldier shooting a local man who is protesting the demolition of his home. The man becomes paralyzed, and his mother struggles to take care of him while living in a cave.


UK court drops terror case against Kneecap rapper

UK court drops terror case against Kneecap rapper
Updated 9 sec ago

UK court drops terror case against Kneecap rapper

UK court drops terror case against Kneecap rapper

LONDON: A UK court on Friday threw out a charge of supporting terrorism brought against a Northern Irish singer from the punk rap group Kneecap which had provoked an outcry among its fans.

Cheers erupted from supporters inside and outside the London court when the judge found there had been a technical error in the case against Liam O’Hanna and told him he was “free to go.”

Speaking outside Woolwich Crown Court, in southeast London, O’Hanna said the decision showed attempts to muzzle the band’s very vocal support for the Palestinians had failed.

“It was always about Gaza, about what happens if you dare to speak up,” he told dozens of jubilant supporters massed in front of the court.

“Your attempts to silence us have failed because we’re right and you’re wrong.”

O’Hanna, 27, was charged in May when a video emerged from a November concert in London, in which he was alleged to have displayed a flag of the Iran-backed Lebanese militant group Hezbollah.

He had denied the offence, filed under UK anti-terror laws, and his lawyers had challenged whether the charge was lodged within legal time limits.In a 13-page written ruling, chief magistrate Paul Goldspring sided with O'Hanna, deciding: “These proceedings were not instituted in the correct form.”

“Consequently, the charge is unlawful and null. This court has no jurisdiction to try the charge,” Goldspring said, reading from his decision, to cheers from the public gallery.

Belfast-based lawyer Darragh Mackin, representing the Kneecap member, said the case was “always a political persecution masquerading as a prosecution.”

“This is not just a victory for kneecap, it’s a victory for the freedom of expression,” he told the crowds outside.


dzٳ’s brings works by Van Gogh, Kahlo and Magritte to Abu Dhabi

dzٳ’s brings works by Van Gogh, Kahlo and Magritte to Abu Dhabi
Updated 26 September 2025

dzٳ’s brings works by Van Gogh, Kahlo and Magritte to Abu Dhabi

dzٳ’s brings works by Van Gogh, Kahlo and Magritte to Abu Dhabi
  • 6 masterworks worth $150m on display Oct. 1 to 2
  • First Mideast showing, some not seen for 50 years

DUBAI: dzٳ’s will stage a fine art exhibition in Abu Dhabi next month, bringing together works from the celebrated Vincent van Gogh, Paul Gauguin, Frida Kahlo, Edvard Munch, Rene Magritte and Camille Pissarro.

Running from Oct. 1 to 2 at the Bassam Freiha Art Foundation, the show will feature six masterworks with a combined value of $150 million. It will also mark dzٳ’s most valuable exhibition ever presented in the region.

Frida Kahlo, 'El sueño (La cama),' 1940. (Supplied)

Among the highlights is Kahlo’s “El sueno (La cama),” painted in 1940 during a period of personal turmoil. The work is worth an estimated $40 to $60 million, the highest valuation for a Kahlo piece to date.

Van Gogh’s “Romans Parisiens (Les Livres jaunes),” valued at around $40 million, will also be on display. The still life, first exhibited in Paris in 1888, is regarded as one of the artist’s most significant works and has rarely been shown publicly.

Other featured pieces include Gauguin’s “La Maison de Pen du, gardeuse de vache” (1889), Pissarro’s “Bords de l’Oise a Pontoise” (1872), Munch’s “Sankthansnatt Johannisnacht (Midsummer Night’s Eve)” and Magritte’s “Le Jockey perdu” (1942).

Paul Gauguin, 'La Maison de Pen du, gardeuse de vache,' 1889. (Supplied)

Each painting comes from notable private collections, including those of Leonard Lauder, the American businessman and philanthropist; Cindy and Jay Pritzker, the Chicago-based family behind the Pritzker Architecture Prize; and Matthew and Kay Bucksbaum, American philanthropists known for their support of the arts and education.

None of the works have been exhibited in the Middle East before, with several not displayed publicly for more than 50 years.

Following Abu Dhabi, the collection will travel to London and Paris before being offered in New York during dzٳ’s November auctions.


Emirati fashion designer Shatha Essa on blending local heritage with global appeal

Emirati fashion designer Shatha Essa on blending local heritage with global appeal
Updated 26 September 2025

Emirati fashion designer Shatha Essa on blending local heritage with global appeal

Emirati fashion designer Shatha Essa on blending local heritage with global appeal
  • ‘My roots are central to everything I create,’ says Shatha Essa

DUBAI: Since launching her womenswear label in 2017, Emirati designer Shatha Essa has steadily carved out a name for herself in the world of luxury fashion with a brand that honors tradition while embracing modern elegance.  

“My journey began with a deep-rooted passion for storytelling through fabric. Growing up in the UAE, style and tradition were seamlessly interwoven in daily life, family gatherings, national celebrations… even school uniforms carried meaning,” Essa tells Arab News.  

A “defining moment” in her fashion journey, she says, was when she met the late Italian journalist Franca Sozzani, who was editor of Vogue Italia for 28 years.  

Shatha Essa launched her brand in 2017. (Supplied)

“Seeing how people react to fashion creations confirmed that design could be a powerful language,” she says. “That moment solidified my dream of becoming a designer.” 

Earlier influences came from those closest to home. “Initially, it was my mother and local artisans who practiced traditional Emirati embroidery and tailoring who served as my inspiration,” she says. And before launching her label, Essa gained insight into the industry from working at Dubai Mall — “where I saw and met different fashion houses and got to see everything happening behind the scenes,” she explains. “These experiences taught me how to balance creative vision with reality.”  

Essa says she took three major lessons away from her formative years in fashion. “If you come from a design background, make sure you study business and have a bit of knowledge on finance and accounting before starting your business,” is the first. “That will help you with your strategies and long-term goals as well. 

Selections from the latest collection by Shatha Essa Kids. (Supplied)

Adaptability is the second. “Working with suppliers, manufacturing teams, and clients from different backgrounds demands flexibility,” she says.  

And the final thing? “Brand discipline and understanding that consistency in story, values, and quality is just as important as the designs themselves.” 

Essa launched her womenswear line with, as she puts it, “a calling to articulate contemporary Emirati femininity in a way that celebrated heritage while embracing modernity.” Her vision from the start was to offer “thoughtfully crafted pieces that empower women through elegant tailoring, subtle storytelling, and cultural resonance.” 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

Her inspiration comes from all over — including urban architecture, and traditional crafts such as sadu weaving and pearl embroidery. She also says she finds beauty in “the patterns of light in the souk at sunset or the silhouette of a gahwa cup handle,” and enjoys “translating cultural motifs into modern shapes and textures.”  

For the current season, Essa says her team is “exploring Emirati breeze blocks in a different way.” She explains: “We are not only looking at the shape of a breeze block, but also the air circulation, love and energy it creates.”  

But at the core of every piece she designs is her heritage. “My Emirati roots are central to everything I create,” she says, adding that she draws on “traditional aesthetics, modest cuts, flowing lines, desert-driven palette” and reframes them “for the contemporary wardrobe.” 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

Essa’s international profile continues to grow. In July 2024, Shatha Essa Kids became the first childrenswear label from the UAE to be launched at luxury London department store Harrods. 

“Being stocked at Harrods is a thrilling milestone. It’s recognition on a global stage. It means our artisan heritage and design philosophy is being celebrated internationally,” she says. “It’s validation not just for me but for the artisans and the Emirati narrative we’re sharing.” 

The partnership, she adds, has “elevated the brand’s visibility, attracted international clientele, and inspired confidence in entering new markets.” 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

Aside from Harrods and the UAE, Essa also sees ֱ as a key part of her brand’s journey.  

“ֱ is incredibly important,” she says. “It’s a vibrant market with a growing appetite for high-quality, culturally resonant fashion.” Saudi clients, she notes, have “a strong preference for stylish, bold, and out-of-the-box silhouettes; rich textures; and deep, saturated tones,” while in the UAE, “lighter palettes and classic statement cuts” are in favor.  

“Both markets value craftsmanship, but their aesthetic sensibilities diverge in tone and expression,” Essa adds. 

The Kingdom is a major focus for her expansion plans, which include pop-ups and retail collaborations.  

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

“We’re exploring partnerships with local boutiques and lifestyle brands, and envision a curated retail presence that brings our women’s and kids collections to new audiences in Saudi,” she says.  

At the same time, the brand continues to grow internationally, having recently signed with the major online fashion retailer Net-a-Porter. 

Asked what her advice to aspiring designers would be, Essa offers the following: “Start with your roots and own your story, and let that guide your vision. Learn all parts of the business from pattern-cutting to supply-chain management. Be patient and persistent. Building a brand takes time, resilience, and adaptability.”  


Review: Leonardo DiCaprio gives a career-defining performance in ‘One Battle After Another’

Review: Leonardo DiCaprio gives a career-defining performance in ‘One Battle After Another’
Updated 26 September 2025

Review: Leonardo DiCaprio gives a career-defining performance in ‘One Battle After Another’

Review: Leonardo DiCaprio gives a career-defining performance in ‘One Battle After Another’

DUBAI: The revolution may not be televised, but it sure makes for compelling cinema. Paul Thomas Anderson’s “One Battle After Another” is a sociopolitical event so in tune with the current political climate that its opening scene (set against the backdrop of an immigrant detention center) could be mistaken for the news.

The story arcs across two timelines: Bob Ferguson (Leonardo DiCaprio), a once-radical guerrilla turned single dad and drug-addled recluse, must confront a returning threat when his daughter Willa (Chase Infiniti) is hunted by his old enemy Colonel Steven J. Lockjaw (Sean Penn).  

DiCaprio’s performance is revelatory. We see him on both sides of a 16-year time jump and he juggles his naïve idealism (and later disillusionment) with moments of quiet emotional weight and urgency as he morphs into a father out of his depth with practiced ease. His comic timing remains sharp as ever. A scene where he has to manically argue with a former revolutionary colleague over the phone as he begs for the coordinates to his daughter even as the latter demads old passcodes that he’s forgotten elicited huge laughs. 

Alongside DiCaprio’s possible career-best turn, Penn is equally impressive as the hateful Lockjaw, who’s about to be initiated into a group of wealthy, powerful White nationalists (drawn in broad strokes, but no less real for that). Before that, though, an old error needs correcting, and he will stop at nothing to do it. Lockjaw is evil through and through, and yet, in the film’s closing minutes, you come to truly feel for him, thanks to Penn’s stunning performance.

And in her breakout big-screen role, Infiniti more than holds her own opposite DiCaprio, Penn, and other major names including Regina Hall, Teyana Taylor and Benicio del Toro, all of whom contribute tonal grounding to the narrative’s grand ambitions. 

As for Anderson, the filmmaker’s tight control over tone is the film’s greatest feat. He flits between absurdist satire, brutal action, and intimate family drama with a confidence few others can muster. 

In short, “One Battle After Another” is not just a movie about revolution; it is a cinematic revolution. Its swagger, intelligence and emotional pulse make it much more than awards bait; it’s a film that should reverberate for years.


New Riyadh exhibition illustrates Islamic history through coins 

New Riyadh exhibition illustrates Islamic history through coins 
Updated 26 September 2025

New Riyadh exhibition illustrates Islamic history through coins 

New Riyadh exhibition illustrates Islamic history through coins 
  • ‘Minted Narratives’ runs until Dec. 16 at ֱ’s National Museum  

RIYADH: “This whole exhibition is about showing the power of Islamic coins and explaining the message that they bring to society,” says Dr. Alain Baron, founder of Numismatica Genevensis SA. “They are the most complete source of information in history, as you can have, on some coins, the names of viziers, personalities, and historical figures that would never be known if it were not for the coins.” 

Baron is talking to Arab News about “Minted Narratives: ֱ’s Legacy in Coins,” an exhibition running at Riyadh’s National Museum until Dec. 16.  

Baron co-curated the exhibition with Dr. Naif Al-Sharaan, an expert in Islamic numismatic history. Many of the pieces on display come from Baron’s extensive personal collection, alongside selections from the Ministry of Culture’s holdings. 

Part of the show's 'Treasures and Coins of ֱ' section. (Supplied)

“This exhibition is very important because it (features) the largest collection of coins ever struck on Saudi ground — coins struck in Makkah and Madinah that have been collected in Europe and America for decades,” Baron explains. “And this is the first time that these coins have been unveiled to the public on this scale.” 

The show traces the evolution of coins from pre-Islamic times to the modern Saudi riyal, highlighting currency’s role in documenting artistic, economic, and political transformations. It includes scenography designed by Studio Ghaith&Jad and Farah Fayyad, with contributions from Al-Sharaan, and blends artistic and architectural elements to reflect different historical periods. 

“When we came up with the title ‘Minted Narratives,’ we realized we wouldn’t be displaying everything in chronological order — but dividing it into different stories,” Jad Melki, of Studio Ghaith&Jad tells Arab News. 

An example from the show's 'Women in Coins' section. (Supplied)

“Now we (barely) use coins anymore, so somehow when we look at these as historical objects and put them in such a contemporary space that we were trying to create, you start to focus more on what the coin is telling you,” he continues. “What is the narrative behind it? What was minted at that time? And how did people move these coins from one place to the other? It maps out an entire system of economies and cultures that are being minted on these coins, whether it is cultural emblems or different faces, or different typographies on them.” 

The exhibition contains seven sections. It begins with “Pre-Islamic Coins,” highlighting symbols and meanings related to trade and authority. It is followed by “The Birth of Islamic Coins and Coins in the Islamic Dynasties,” which illustrates the unity and diversity of Islamic civilization over the centuries. 

“One thing that we really wanted to emphasize in the scenography is to have those different experiences because we have a shift in narratives,” Melki said, sharing that the first section’s aesthetic is very “somber” with dark lighting and earthier tones, while the birth of the Islamic civilization is a brightly-lit space, suggesting the enlightenment of the time. 

The show's 'The Birth of Islamic Coins and Coins in the Islamic Dynasties' section. (Supplied)

The section “Women in Coins” showcases the presence of women in numismatics. “A lot of women’s names have been mentioned on coins,” says Baron. “I was relatively ignorant about that. I started to dig into the topic and found that lots of queens in Arab culture had been mentioned on coins, which obviously underlines their importance, and that brought me to Zubaidah (bint Ja’far) — one of the key figures in (Islam).” (Queen Zubaidah significantly financed Darb Zubayda, a pilgrimage route that offered those performing Hajj an easier journey to Makkah.) 

“Treasures and Coins of ֱ,” meanwhile, tells the story of the Kingdom’s unification, and the building of the modern state. Melki describes this as “the most important section” of the exhibition. 

“There we wanted to create the typography of Makkah and to highlight that these coins were minted there, or in Madinah,” he says. “So there are different elements that reference geography or architecture.” 

“(Coins) are an incredible source of knowledge. The world should know that cities like Makkah and Madinah had a rich history,” says Baron. “Qur’ans and artworks from this period have almost all disappeared, or are awfully rare. So what you see here, basically, are the last remaining witnesses of the earliest stages of the history of Islam.”