Lebanon Misses Festivals amid Economic Crisis

Musicians from the Lebanese Philharmonic Orchestra perform during
a concert in the ancient northeastern city of Baalbek, Lebanon,
Sunday, July 5, 2020. (AP Photo/Bilal Hussein)
Musicians from the Lebanese Philharmonic Orchestra perform during a concert in the ancient northeastern city of Baalbek, Lebanon, Sunday, July 5, 2020. (AP Photo/Bilal Hussein)
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Lebanon Misses Festivals amid Economic Crisis

Musicians from the Lebanese Philharmonic Orchestra perform during
a concert in the ancient northeastern city of Baalbek, Lebanon,
Sunday, July 5, 2020. (AP Photo/Bilal Hussein)
Musicians from the Lebanese Philharmonic Orchestra perform during a concert in the ancient northeastern city of Baalbek, Lebanon, Sunday, July 5, 2020. (AP Photo/Bilal Hussein)

Over the past two years, Lebanon has lived successive crises that influenced its artistic environment. Yet, some cultural centers and galleries have resumed their activity after a long pause, hosting painting and sculpting exhibitions following a forced recession period. The factors that paralyzed these centers are many, including the pandemic and the Beirut blast, along with many other crises, mainly the worsening economic situation, and the fuel and electricity shortage.

The festivals many Lebanese cities and towns used to host to spice up the summer season, and lure locals, expatriates, and Arab tourists didn't return yet due to the lack of sponsors, and financial funding. The daily and constant devaluation of the local currency has also affected the ticketing prices, considered a major source of profits.

The Beirut Holidays Festival is one of the most awaited events in the capital. It used to be held during the Eid al-Adha holiday every year, gathering many Lebanese, Arab, and Western singers. However, the tough circumstances in the country left the organizers helpless and unable to decide whether to hold it or not.

Amin Abi Yaghi, an organizer at Beirut Holidays said: "We didn't take our final decision yet. In the last few days, we started to consider some measures that could allow us to organize some concerts to bring festivities back to the capital."

"Unfortunately, there are many obstacles, but we believe we can make a small event that hosts local singers like Elissa, Wael Kfoury, and Joseph Atiyeh. Some friends seemed excited about the idea and promised to provide the needed financial support. Of course, bringing foreign artists is not possible given the current circumstances and the currency devaluation, and we still have to consider the cost of equipment, seats, and the lease of the location, among many other factors and logistics that can't be overlooked. Not to mention the daily devaluating Lebanese pound which affects the ticket pricing," he told Asharq Al-Awsat.

Speaking about the ticketing prices, Abi Yaghi suggested: "It would start at 300 LBP, and increase for VIP seats. However, all these ideas are still being considered, especially that the country is not yet ready for such festivals. We won't rush to take the final decision, hoping things would become clearer in the coming days."

On the other hand, the Batroun International Festivals decided to make a comeback, and it's currently preparing its event, but without singers this time. The plan is to organize a mini-festival that runs from July 16 to September 5.

Sayed Fayad, organizer of the Batroun Festivals told Asharq Al-Awsat: "All I can say is that we are not going to give up at all costs. The mini-festival will focus on local activities because we aim to keep the city on Lebanon's cultural and entertainment map. Our village, which is currently in its summer peak, will host a colorful event to enlighten the Lebanese days and nights with some hope."

The festival will open with two special evenings dedicated to local drinks and seafood.

"All the products served on those two nights will be made by locals, and from their produces, which are as good and fancy as the exported goods," said Fayad.

"The participants in those evenings will enjoy a long list of local beverages, including Batroun's popular lemonade, in addition to other juices made of red and white grapes. Visitors will also have the chance to try many popular Lebanese dishes, mainly seafood, made in restaurants across Batroun," he added.

On July 23,24,25, the city's old souk is set to host an art exhibition dedicated to Lebanese designers. The festival is planning a gathering of small wooden boats that will take fans on a marine trip from the Batroun port to the popular Bahasa Bay.

"The event will offer a unique sea scenery in which participate 300 boating fans," explained Fayad.

The Batroun Festivals will also include a photography exhibition by Photographer Fares Jammal, from August 15 to September 5. On September 2,3,4,5, the city is set to host the Batroun Mediterranean Film Festival (BMFF) on an open-air stage.

"BMFF will screen short movies selected from the Mediterranean region, in the expatriate square renovated by the Ministry of Culture's antiquities department. The free-entrance event will be open to the public over four days and will include other activities. The site is equipped with special seats bought from a cinema theater in Tripoli that closed its doors in 1965. The audience will enjoy an excellent cinematic experience that will take them back to the big screen world," the festival's organizer said.

For the closing ceremony, the festival will host a concert performed by Khaled Mouzanar and 10 other musicians who came to Lebanon to partake in this special night. Mouzannar and his team will play famous music pieces from popular movies including Caramel, Capernaum, and Villa Paradiso.

Instead of big events, other festivals like Beirut & Beyond, plan to release musical albums signed by singers who were supposed to perform on stage.

The album will be titled "Beirut 20-21," featuring 20 artists, some of them partook in former editions like Lebanese Rapper Jaafar Toufar, Sandy Chamoun, two members of "Tanjaret Daght" band, Khaled Omran, Tarek, and Marie Abu Khaled, and Scarlet Saad.



Movie Review: ‘The End of Oak Street’ Is a Gonzo Good Time

 This image released by Warner Bros. Pictures shows Ewan McGregor, left, and Anne Hathaway in a scene from "The End of Oak Street." (Warner Bros. Pictures via AP)
This image released by Warner Bros. Pictures shows Ewan McGregor, left, and Anne Hathaway in a scene from "The End of Oak Street." (Warner Bros. Pictures via AP)
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Movie Review: ‘The End of Oak Street’ Is a Gonzo Good Time

 This image released by Warner Bros. Pictures shows Ewan McGregor, left, and Anne Hathaway in a scene from "The End of Oak Street." (Warner Bros. Pictures via AP)
This image released by Warner Bros. Pictures shows Ewan McGregor, left, and Anne Hathaway in a scene from "The End of Oak Street." (Warner Bros. Pictures via AP)

At the end of the block in David Robert Mitchell’s “The End of Oak Street,” is a cul-de-sac with a telephone pole in the middle and wires radiating out like the cables of a big top. It’s a fitting touch for a breakneck, carnivalesque movie made with throwback showmanship.

Summer movies, of course, are not known for lacking in circus-like mayhem. But much of the pastiche delight of the 1980s-set “The End of Oak Street,” a mid-August surprise, is how it absorbs an Amblin-style blockbuster spirit and conjures, without winking irony or belabored homage, a summer thrill ride seemingly designed for the drive-in.

Mitchell’s breakthrough was the nifty 2014 horror “It Follows,” which he followed up with an admirably ambitious but shaggily self-indulgent Los Angeles neo noir, “Under the Silver Lake.” But any indulgences in “The End of Oak Street,” about a 1980s suburban family whose neighborhood is transported through time, are for the audience. “The End of Oak Street” is a bonkers blast.

It’s best going in not knowing anything about the movie’s twists, so tread carefully on the rest of this review. That’s not to say that an enormous amount of “The End of Oak Street” isn’t immediately familiar, starting with the central family.

The Platts live in what looks like a San Fernando Valley neighborhood full of split levels and tidy little streets. Denise (Anne Hathaway) and Greg (Ewan McGregor) have two kids and a dog named Starbuck. Audrey (Maisy Stella) is a teenager and Brian (Christian Convery) is her younger brother.

But from the moment we meet them, during a neighborhood fair, there are obvious cracks in their all-American life. Greg is working a side job delivering pizzas while Denise is secretly typing up a maybe-aspirational novel about a woman dreaming of leaving her family. The kids have their own secrets, too. They suspect their parents are on the cusp of divorcing, and so, seemingly, do Greg and Denise.

Such a framework for sci-fi cataclysm is, naturally, Spielberg 101. But while “The End of Oak Street” is sure to test and restore their familial bonds, Mitchell, who also wrote the script, takes a route that leans more into horror, absurdism and outright silliness.

In any case, yes, there are dinosaurs. It’s both skillful and a lot of fun how Mitchell teases them out. The first signs are mysterious. A flash of light. A strange exotic flower in a neighbor’s backyard. A giant mount of feces in another’s. But soon, the Platts find that their neighborhood is overrun with primordial beasts and surrounded by jungle: Oak Street is suddenly a suburban island in a prehistoric world.

It’s a perfectly “Twilight Zone” plot that inadvertently solves the problems that have plagued the “Jurassic Park” movies for 20 years. If those films have struggled to find an off-island setting, “The End of Oak Street” instead brings the dino isle straight into suburbia. Encounters with raptors and worse transpire across front porches and shag carpets.

You could chalk it all up to good dumb fun. And it is mostly that, with set pieces built to make an audience groan in anticipation or cheer for the successful swing of a sledgehammer. But where “The End of Oak Street” succeeds where so many others fail is in the sincerity it has for its characters. Ridiculous and over-the-top as the concept is, the Platts are firmly grounded. (Hathaway, especially, helps in this department.) The combination of an earnest family drama with CGI hijinks, plus increasingly nutty plotting, make “The End of Oak Street” a fairly nonstop hoot.

Composer Michael Giacchino does his best John Williams impression to match. But Mitchell’s film also increasingly detours from the Spielberg playbook. Only Mitchell would take a moment for a freaked-out Audrey to sneak into the car to pop a cassette in and listen to Steve Winwood’s “Valerie.”

And while it would be pushing it to say there’s that much underneath “The End of Oak Street,” its characters are united in keeping certain things secret out of fear that their spouse or kids or parents can’t handle the truth. The swiftness that the dinosaurs invade their neighborhood could be symbolic of any ecological disaster, but the subsequent challenges prove each member of the family can handle quite a bit more than expected — even when the parental assurance that everything's going to be OK, like when a giant snake is slithering through their home, is laughably disputable.

It adds up to a gonzo good time that gives an old-school family adventure a darker, modern spin. Mitchell has quickly made suburbia his evident domain, where “it,” or something else, is sure to follow.


Movie Review: ‘The Rivals of Amziah King’ Is a Southern Fried Flick with Too Many Ingredients

 This image released by Black Bear shows Matthew McConaughey, left, and Angelina LookingGlass in a scene from "The Rivals of the Amziah King." (Kyle Kaplan/Black Bear via AP)
This image released by Black Bear shows Matthew McConaughey, left, and Angelina LookingGlass in a scene from "The Rivals of the Amziah King." (Kyle Kaplan/Black Bear via AP)
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Movie Review: ‘The Rivals of Amziah King’ Is a Southern Fried Flick with Too Many Ingredients

 This image released by Black Bear shows Matthew McConaughey, left, and Angelina LookingGlass in a scene from "The Rivals of the Amziah King." (Kyle Kaplan/Black Bear via AP)
This image released by Black Bear shows Matthew McConaughey, left, and Angelina LookingGlass in a scene from "The Rivals of the Amziah King." (Kyle Kaplan/Black Bear via AP)

It turns out that the honey business isn't as sweet as it sounds: In the new movie “The Rivals of Amziah King,” beekeepers steal from each other, poison rivals' insects and rip folk off. “It’s not full of kind people,” the title character warns.

“The Rivals of Amziah King” isn't as sweet as it thinks it is, either. Instead of picking a single variety to explore, the movie is a maddening mishmash of genres — blending Quentin Tarantino's sudden brutality, a coming-of-age tale, a heist flick, a revenge fantasy and a sweet, music-filled country hoedown.

Matthew McConaughey returns to the big screen playing the title character in what can only be called Matthew-McConaughey-turned-up-to-11 mode, pure Cheshire Cat smile, rascally wink and buttery, Southern gentlemanly charm. Suspenders and scruff on, cowboy boots snug, McConaughey is the one who makes everyone's life instantly better just by showing up.

Written by Andrew Patterson and James Montague and directed by Patterson, “The Rivals of Amziah King” follows McConaughey's honey-producing King as he negotiates his patch of rural Oklahoma until he inexplicably leaves the movie at the hour mark and hands it off to Angelina LookingGlass, making her film debut.

We meet King ordering chicken fried steak sandwiches and cherry Cokes as he plays the banjo in a quartet of musicians at a beloved food joint. That gets interrupted when authorities need his knowledge to find out who abandoned $250,000 worth of honey barrels on the road and King starts to investigate. Then someone gets a chunk of their skull — including ponytail — ripped off in an industrial accident and that takes over. Settle in, the whiplash is just beginning.

King soon connects with his former foster daughter — that's LookingGlass, fierce and preternaturally grounded — who he gets to mansplain in the local ways, like what to eat at the potluck (“There's a story in every dish”), life lessons (“Patience is better than being smart”) and beekeeping (“Every queen is a survivor”). Bees here, if you didn't already get from the clunky writing, represent community, sharing and caring.

Cinematographer M.I. Littin-Menz's camera techniques never settle down in this movie, like a puppy forever pulling on its leash. Early sequences employ frozen shots irritatingly dropped into the mix and later we have furious close-ups, quick cuts, quirky flashbacks, ethereal river sequences and lingering poetic images of close-up bees like from a documentary, a kinetic approach that seems not to have much faith in the actual story keeping viewers' interest alive. Music supervisor Winslow Bright swamps many scenes with loud choirs, loud banjo and loud strings.

Maybe that's because as soon as you've settled down for one genre, it gets hijacked by the next. Warm and extended moments of communal song — the great T Bone Burnett had a hand in some of the outstanding Americana tunes like “Quill” with McConaughey exuberant, and “Johnny Come Outside” — are undercut by seeing kids smash their heads on school bus roofs or a cool Western-like tracking of a honey-stealing local rascal that is marred by his horrific, boiling-to-death murder. There are so many montages of honey production that viewers may qualify for a beekeeping certificate.

Great turns are produced by Kurt Russell as a lethal local kingpin who schmoozes his way past the law, and Jake Horowitz, a former Marine who knows how to plan a theft with military precision, mostly shirtless. One brazen theft here is of “O Brother, Where Art Thou?” and, however you liked that movie, you realize now how hard it was to actually pull off.

Patterson likes to remind viewers of his Oklahoma bona fides, but much of the overlong movie was shot in Alabama. And that hints at what's wrong with “The Rivals of Amziah King” — it just doesn't feel authentic, either in place or in story. Forget honey, it sort of leaves a vinegary taste behind.


Rod Stewart Cancels Tour Dates After Heart Surgery

Rod Stewart performs during the Glastonbury Festival in Worthy Farm, Somerset, England, Sunday, June 29, 2025. (AP)
Rod Stewart performs during the Glastonbury Festival in Worthy Farm, Somerset, England, Sunday, June 29, 2025. (AP)
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Rod Stewart Cancels Tour Dates After Heart Surgery

Rod Stewart performs during the Glastonbury Festival in Worthy Farm, Somerset, England, Sunday, June 29, 2025. (AP)
Rod Stewart performs during the Glastonbury Festival in Worthy Farm, Somerset, England, Sunday, June 29, 2025. (AP)

British rock star Rod Stewart, 81, has cancelled forthcoming US tour dates after having a heart operation, his social media announced.

A message posted late Tuesday on his Instagram page said the raspy-voiced rocker has "successfully undergone a routine coronary stent procedure".

This procedure is to widen blocked or narrowed coronary arteries by interesting a tube that allows blood to flow more freely.

He had been due to play a series of US tour dates this month including in Las Vegas.

Now, "on the advice of his doctors, he will take the next four weeks to recuperate and regain full fitness before returning to the stage," his management said.

"Unfortunately, this means he will be unable to continue his current tour dates".

The spiky-haired singer and songwriter, who had a string of megahits in the 1970s and 1980s, has kept up a busy touring schedule despite his age.

He wrote in 2025: "I love what I do, and I do what I love. I'm fit, have a full head of hair and can run 100 meters (330 feet) in 18 seconds."

Stewart has recently cancelled several US shows over ill health, however, most recently on Sunday in Cincinnati, described at the time as due to "an unforeseen but minor medical procedure".

In June, he cancelled a concert in California at the last moment after contracting laryngitis, but faced criticism for attending a World Cup match the next day.

Later in June he was seen receiving oxygen during a show in Utah and told the audience he had nearly fainted.