Saudi Film Festival Brightens Future of Cinema in the Kingdom

 King Abdulaziz Center for World Culture's Ithra Hall, Dammam
King Abdulaziz Center for World Culture's Ithra Hall, Dammam
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Saudi Film Festival Brightens Future of Cinema in the Kingdom

 King Abdulaziz Center for World Culture's Ithra Hall, Dammam
King Abdulaziz Center for World Culture's Ithra Hall, Dammam

The 7th edition of the Saudi Film Festival has kicked off on Friday and will run until July 7. The event is managed and organized by Ahmed Al Mulla.

The Saudi Film Festival is one of two cinema-related events in the Kingdom. The other is the Red Sea International Film Festival, and it's scheduled for November. The first is dedicated to Saudi cinema and aims at developing the movie industry, and enhancing the cultural activity in the country, by sponsoring all sorts of cinema-related activities, movies, forums, and books.

The festival is set to screen a large number of works including short, small, narrative, and non-narrative films, aiming at offering "opportunities for Saudi young talents interested in movie making, and celebrating them."

The jury is composed of five members: Saudi Ali Alkalthami (head of the jury), Egyptian actress Bushra, Tunisian director Kawthar bin Haniyeh, Jordanian producer Monzer al-Rayahneh, and American critic Deborah Young.

The festival also organizes a scriptwriting contest featuring 254 participants, 14 of them already reached the finals (six long film scenarios, and eight short films scenarios). The jury of this contest is composed of Saad al-Dossari (president), and members Mohammed al-Bashir, and Raja Sayer Al-Mutairi.

The festival celebrates two cinema stars, Maamoun Hassan (who was head of production at the British Film Institute for several years), and Bahraini director Bassam al-Thawadi.

The Saudi Film Festival was launched in 2008, but its second edition was held in 2015, followed by two successive editions in 2016 and 2017, and then it returned in a sophisticated edition in 2019. Last year, the event went virtual due to the coronavirus pandemic.

This year, the Saudi Film Festival is back with more momentum, purpose, and a team that insists on maintaining progress. It is held in the same location as the past years, at the King Abdulaziz Center for World Culture's Ithra Hall, Dammam. A large, beautifully designed venue surrounded by vast gardens, and housing a massive library, two screening halls, and a conference hall that could accommodate a wide audience.

The festival's manager, Ahmed Al Mulla has given special attention to the health measures imposed by the concerned authorities. In a conference he attended a few days ago, he discussed health concerns, and praised "the huge efforts the wise leadership and concerned authorities made to combat the pandemic, enabling the center to organize the event, and host a large audience with all the necessary health precautions."

This is not all. In an interview with Asharq Al-Awsat, Al Mulla answered six questions and revealed further details about the festival and the importance of this edition for the Saudi cinema.

• When you look at the past editions and the current one, how do you see the progress? And does it meet your aspirations?

The Saudi Film Festival has faced many challenges since its launch in 2008, especially the compulsive interruption that separated its first and second editions. The festival has faced many challenges, and the pandemic was the latest but not the last one. We didn't give up, and we redesigned its programs virtually. The digital edition was an adventure, but it achieved remarkable success and reach, which enhanced the plans of the current edition. This year, we managed to organize a live event with a huge audience and keep the virtual platform to ensure that the largest number of spectators watch the festival.

Yes, we dreamed of a wide prospect, we hoped to receive a merited appreciation, and called for support…and our dreams have become true. Our biggest goal was to make a Saudi film with an artistic value that highlights the aesthetics of the country, heritage, and history. In this edition, I feel I am closer to this dream, and I see it approaching for the first time.

• The festival is growing quickly. I attended the 5th edition, and I noticed great organization and planning that I didn't see in other Arab festivals. This makes me ask: What are your ambitions for the coming editions?

My ambition is to see the festival maintain the focus on its main goal: Competition and Saudi movies. I want it to include more diverse programs that inspire movie makers. This will help the movie industry keep growing with constant leaps, similar to those we saw since its debut. I hope the festival will always be a knowledge platform that inspires art and beauty.

• How did the festival benefit moviemakers in the Kingdom so far?

Moviemakers can speak better about the benefits they gained from the festival. For me, the ultimate gain is their gathering at the same place and time in an environment where they can exchange views, and enhance connections. Then there is motivation, decent competition, and development of tools through rich programs providing workshops, forums, books, and regular discussions.

• How did the festival come to light? And who was behind the idea and its implementation?

In 2006, I was a member of the literary club in the Eastern Province and its executive manager. I was also responsible for the events it organizes. Driven by my interest in cinema, I suggested organizing a weekly cinema night, and I chose the movies that were screened during it. The idea lured a great audience of young Saudis who formed a team of movie fans (some opposed the idea). After a lot of negotiations, the club and the Culture and Arts Association in Dammam agreed to organize the first festival. Those who participated in the organization were many, but I won't say names because I don't want to forget anyone.

• Did other Arab film festivals support Saudi films? And how?

Of course, they did. Before, within, and after the Saudi Film Festival, every Saudi movie that partakes in an Arab or international contest will bring many advantages for moviemakers and colleagues. It would contribute to developing the content, encourage others, mark a presence in other festivals, and leave a beautiful trace in the audience's imagination about the Saudi movie.

• A number of Saudi movies will be screened at the Red Sea International Film Festival. How do the Saudi Movie Festival, and moviemakers benefit from this participation?

The Red Sea International Film Festival is an important platform that plays a major role in Saudi Arabia's aspirations for the future because it seeks to fulfill Arab and international ambitions and motivate Saudi movie makers to exert more effort. The festival has already launched several support and development programs, along with its upcoming edition in November. I believe the integration between the two festivals is possible and is actually happening.



Blake Lively Sues ‘It Ends With Us’ Director Justin Baldoni Alleging Harassment and Smear Campaign

Blake Lively attends the LACMA Art+Film Gala at the Los Angeles County Museum of Art (LACMA) in Los Angeles, California, on November 2, 2024. (AFP)
Blake Lively attends the LACMA Art+Film Gala at the Los Angeles County Museum of Art (LACMA) in Los Angeles, California, on November 2, 2024. (AFP)
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Blake Lively Sues ‘It Ends With Us’ Director Justin Baldoni Alleging Harassment and Smear Campaign

Blake Lively attends the LACMA Art+Film Gala at the Los Angeles County Museum of Art (LACMA) in Los Angeles, California, on November 2, 2024. (AFP)
Blake Lively attends the LACMA Art+Film Gala at the Los Angeles County Museum of Art (LACMA) in Los Angeles, California, on November 2, 2024. (AFP)

Actor Blake Lively sued "It Ends With Us" director Justin Baldoni and several others tied to the romantic drama on Tuesday, alleging harassment and a coordinated campaign to attack her reputation for coming forward about her treatment on the set.

The federal lawsuit was filed in New York just hours after Baldoni and many of the other defendants in Lively's suit sued The New York Times for libel for its story on her allegations, saying the newspaper and the star were the ones conducting a coordinated smear campaign.

The lawsuits are major developments in a story emerging from the surprise hit film that has already made major waves in Hollywood and led to discussions of the treatment of female actors both on sets and in media.

Lively's suit said that Baldoni, the film's production company Wayfarer Studios and others engaged in "a carefully crafted, coordinated, and resourced retaliatory scheme to silence her, and others, from speaking out."

She accuses Baldoni and the studio of embarking on a "multi-tiered plan" to damage her reputation following a meeting in which she and her husband, actor Ryan Reynolds, addressed "repeated sexual harassment and other disturbing behavior" by Baldoni and a producer Jamey Heath, who is also named in both lawsuits.

The plan, the suit said, included a proposal to plant theories on online message boards, engineer a social media campaign and place news stories critical of Lively.

The alleged mistreatment on set included comments from Baldoni on the bodies of Lively and other women on the set.

Baldoni's attorney Bryan Freedman did not immediately respond to a request for comment on Lively's lawsuit. But he previously called the same allegations "completely false, outrageous and intentionally salacious."

Lively's lawsuit comes the same day as the libel lawsuit filed in Los Angeles Superior Court by Baldoni and others against the Times seeking at least $250 million. The Times stood by its reporting and said it plans to "vigorously defend" against the lawsuit.

Others who are defendants in Lively's suit and plaintiffs in the libel suit include Wayfarer and crisis communications expert Melissa Nathan, whose text message was quoted in the headline of the Dec. 21 Times story: "‘We Can Bury Anyone’: Inside a Hollywood Smear Machine."

Written by Megan Twohey, Mike McIntire and Julie Tate, the story was published just after Lively filed a legal complaint with the California Civil Rights Department, a predecessor to her new lawsuit.

The libel lawsuit says the newspaper "relied almost entirely on Lively’s unverified and self-serving narrative, lifting it nearly verbatim while disregarding an abundance of evidence that contradicted her claims and exposed her true motives. But the Times did not care."

A spokesperson for the Times, Danielle Rhoades, said in a statement that "our story was meticulously and responsibly reported."

"It was based on a review of thousands of pages of original documents, including the text messages and emails that we quote accurately and at length in the article. To date, Wayfarer Studios, Mr. Baldoni, the other subjects of the article and their representatives have not pointed to a single error," the statement said.

But Baldoni's lawsuit says that "If the Times truly reviewed the thousands of private communications it claimed to have obtained, its reporters would have seen incontrovertible evidence that it was Lively, not Plaintiffs, who engaged in a calculated smear campaign."

Lively is not a defendant in the libel lawsuit. Her lawyers said in a statement that "Nothing in this lawsuit changes anything about the claims advanced in Ms. Lively’s California Civil Rights Department Complaint, nor her federal complaint, filed earlier today."

The romantic drama "It Ends With Us," an adaptation of Colleen Hoover’s bestselling 2016 novel, was released in August, exceeding box office expectations with a $50 million debut. But the movie’s release was shrouded by speculation over discord between Lively and Baldoni. Baldoni took a backseat in promoting the film while Lively took centerstage along with Reynolds, who was on the press circuit for "Deadpool & Wolverine" at the same time.

Lively came to fame through the 2005 film "The Sisterhood of the Traveling Pants," and bolstered her stardom on the TV series "Gossip Girl" from 2007 to 2012. She has since starred in films including "The Town" and "The Shallows."

Baldoni starred in the TV comedy "Jane the Virgin," directed the 2019 film "Five Feet Apart" and wrote "Man Enough," a book pushing back against traditional notions of masculinity. He responded to concerns that "It Ends With Us" romanticized domestic violence, telling the AP at the time that critics were "absolutely entitled to that opinion."

He was dropped by his agency, WME, immediately after Lively filed her complaint and the Times published its story. The agency represents both Lively and Reynolds.

Baldoni's attorney, Freedman, said in a statement on the libel suit that "the New York Times cowered to the wants and whims of two powerful ‘untouchable’ Hollywood elites."

"In doing so, they pre-determined the outcome of their story, and aided and abetted their own devastating PR smear campaign designed to revitalize Lively’s self-induced floundering public image and counter the organic groundswell of criticism amongst the online public," he added. "The irony is rich."