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Director Tawfik Al-Zaidi Tells Asharq Al-Awsat: ‘Noura’ Resembles AlUla in its Connection with Human, Art

Saudi film director Tawfik Al-Zaidi.
Saudi film director Tawfik Al-Zaidi.
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Director Tawfik Al-Zaidi Tells Asharq Al-Awsat: ‘Noura’ Resembles AlUla in its Connection with Human, Art

Saudi film director Tawfik Al-Zaidi.
Saudi film director Tawfik Al-Zaidi.

Saudi film director Tawfik Al-Zaidi expected the revenues of the Saudi cinema to hit one billion Saudi riyals by the end of 2022, after it exceeded 900 million riyals in November, highlighting the vital role Saudi Arabia has played in the cinema industry since 2018.

During an interview with Asharq Al-Awsat, Al-Zaidi said Saudi Arabia has become a filmmaking-friendly environment, noting that the kingdom has got into the cinema industry with cinema theaters and specialized festivals like Jeddah’s Red Sea Film Festival, which was a game changer.

Al-Zaidi, who directed, wrote, and made his film “Noura” in a small town in AlUla city, said he chose AlUla as a geographic background for his feature film because he sees that the movie and AlUla, which represents an esteemed human heritage, are similar in their connection to humans and art.

Starred by Yacob al-Farhan, Maria Bahrawi, and Abdullah al-Sadhan, “Noura” tells the story of Nader, an artist who gave up painting and moved to western Saudi Arabia where he became a children teacher; and Noura, a young woman who lives with her little brother, Nayef, an independent life, away from male caretakers after the death of their father. In the movie, Noura discovers that Nader is an artist, then an artistic connection emerges between the two, which revives Nader’s inspiration and makes him introduce Noura to a world of possibilities outside her small town.

Tawfik Al-Zaidi believes that cinema is rewriting reality by creating a world and living in it. He chose filmmaking driven by his passion for visual storytelling and narration, and because he sees the visual language of films as a universal, human language and a key to understanding the meanings and messages proposed by the director. Al-Zaidi started his career when he was 12, filming his peers playing football in his neighborhood with his own camera. Despite his early skills at the time, he didn’t realize that he was taking his first steps in the cinema industry.

Tawfik al-Zaidi started directing his own short movies in 2006, and he’s considered an influencing and pioneering member of the new cinema wave in the kingdom. His short film, “The Perfect Crime”, won the Best Montage Award at the Jeddah Film Festival 2007, and his film, “The Silence”, won the Gulf Award for Short Films at the Muscat International Film Festival 2009. The movie was screened in over 20 countries, and was selected by a US organization to be displayed in their private library.

In 2014, he wrote and directed “Four Colors” with the support of Emirati company Two Four 54, and the film was screened at the Dubai International Film Festival. In 2015, he wrote and directed “The Other”, a film funded by Misk foundation. Starred by Syrian actor Mohammed al-Qass, and Saudi actor Meshaal al-Mutairi, the film won the Best Short Film Award in the Riyadh Film Festival 2016.

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Varieties

Jimmy Carter's Woodworking, Painting and Poetry Reveal an Introspective Renaissance Man

(FILES) Former President Jimmy Carter waves to the crowd at the Democratic National Convention 2008 at the Pepsi Center in Denver, Colorado, on August 25, 2008. (Photo by Robyn BECK / AFP)
(FILES) Former President Jimmy Carter waves to the crowd at the Democratic National Convention 2008 at the Pepsi Center in Denver, Colorado, on August 25, 2008. (Photo by Robyn BECK / AFP)
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Jimmy Carter's Woodworking, Painting and Poetry Reveal an Introspective Renaissance Man

(FILES) Former President Jimmy Carter waves to the crowd at the Democratic National Convention 2008 at the Pepsi Center in Denver, Colorado, on August 25, 2008. (Photo by Robyn BECK / AFP)
(FILES) Former President Jimmy Carter waves to the crowd at the Democratic National Convention 2008 at the Pepsi Center in Denver, Colorado, on August 25, 2008. (Photo by Robyn BECK / AFP)

The world knew Jimmy Carter as a president and humanitarian, but he also was a woodworker, painter and poet, creating a body of artistic work that reflects deeply personal views of the global community — and himself.
His portfolio illuminates his closest relationships, his spartan sensibilities and his place in the evolution of American race relations. And it continues to improve the finances of The Carter Center, his enduring legacy, The Associated Press said.
Creating art provided “the rare opportunity for privacy” in his otherwise public life, Carter said. “These times of solitude are like being in another very pleasant world.”
‘One of the best gifts of my life' Mourners at Carter’s hometown funeral will see the altar cross he carved in maple and collection plates he turned on his lathe. Great-grandchildren in the front pews at Maranatha Baptist Church slept as infants in cradles he fashioned.
The former president measured himself a “fairly proficient” craftsman. Chris Bagby, an Atlanta woodworker whose shop Carter frequented, elevated that assessment to “rather accomplished.”
Carter gleaned the basics on his father’s farm, where the Great Depression meant being a jack-of-all-trades. He learned more in shop class and with Future Farmers of America. “I made a miniature of the White House,” he recalled, insisting it was not about his ambitions.
During his Navy years, Jimmy and Rosalynn Carter chose unfurnished military housing to stretch his $300 monthly wage, and he built their furniture himself in a shop on base.
As president, Carter nurtured woodworking rather than his golf game, spending hours in a wood shop at Camp David to make small presents for family and friends. And when he left the White House, West Wing aides and Cabinet members pooled money for a shopping spree at Sears, Roebuck & Co. so he could finally assemble a full-scale home woodshop.
“One of the best gifts of my life,” Carter said.
Working in their converted garage, he previewed decades of Habitat for Humanity work by refurbishing their one-story house in Plains. He also improved his fine woodworking skills, joining wood without nails or screws. He also bought Japanese carving tools, and fashioned a chess set later owned by a Saudi prince.
Not just any customer Carter frequented Atlanta’s Highland Woodworking, a shop replete with a library of how-to books and hard-to-find tools, and recruited the world’s preeminent handmade furniture maker, Tage Frid, as an instructor, Bagby said.
Still hanging near the store entrance is a picture of Frid, who died in 2004, teaching students including a smiling former president at the front of the class.
“He was like a regular customer,” Bagby said, other than the “Secret Service agents who came with him.”
Carter built four ladder-back chairs out of hickory in 1983, and Sotheby’s auctioned them for $21,000 each at the time, the first of many sales of Carter paintings and furniture that raised millions to benefit The Carter Center.
It was rarely about the money, though. Jill Stuckey, a longtime friend who would have the Carters over to her home in Plains, recalled seeing the former president carrying out one of her chairs.
“I said, ‘What are you doing?’” she recalled. “He said, ‘It’s broken. I’m going to take it home and fix it.’”
He was at her back door at 7:30 the next morning, holding her repaired chair.
Carter compared woodworking to the results of his labor as a Navy engineer, or as a boy on the farm: “I like to see what I have done, what I have made.”
‘No special talent,' but his paintings drive auctions Carter employed a folk-art style as a late-in-life amateur painter and claimed “no special talent,” but a 2020 Carter Center auction drew $340,000 for his painting titled “Cardinals," and his oil-on-canvas of an eagle sold for $225,000 in 2023, months after he entered hospice care.
Carter’s work hangs throughout the center’s campus. A room where he met with dignitaries is encircled with birds he painted after he and Rosalynn took on bird watching as a hobby.
Near the executive offices are a self-portrait and a painting of Rosalynn in their early post-presidential years, hanging across from a trio of Andy Warhol prints showing Carter in office.
Carter’s earliest years predominate, with boyhood farm scenes and portraits of influential figures like his father James Earl Carter Sr., whose death in 1953 led him to abandon a Navy career and eventually enter politics in Georgia.
Some of his subjects, including both of his parents, are looking away. Carter's likeness of his mother shows “Miss Lillian” as a 70-year-old Peace Corps volunteer in India. Jason Carter said the piece was particularly meaningful to his grandfather, who lost reelection at a relatively youthful 56.
“When he got out of the White House, she was standing there saying, ’Well, I turned 70 in the Peace Corps. What are you going to do?” Jason Carter said.
One Carter subject who meets his gaze is a young Rosalynn — they married when she was 18 and he was 21. He described her as “remarkably beautiful, almost painfully shy, obviously intelligent, and yet unrestrained in our discussions.”
Another who doesn’t look away is Rachel Clark, a Black sharecropper who had hosted the future president after they worked in the fields. “Except for my parents, Rachel Clark was the person closest to me,” Carter wrote of his childhood.
'Just a word of praise' Carter wrote more than 30 books — even a novel — but was most introspective in poetry.
On his first real recognition of Jim Crow segregation: “A silent line was drawn between friend and friend, race and race.”
On his Cold War submarine’s delicate dance with enemies: “We wanted them to understand ... to share our love of solitude ... the peace we yearned to keep.”
Rosalynn’s smile, he gushed, silenced the birds, “or may be I failed to hear their song.”
Perhaps Carter’s most revealing poem, “I Wanted to Share My Father’s World,” concerns the man who never got to see his namesake son’s achievements. He wrote that he despised Earl’s discipline, and swallowed hunger for “just a word of praise.”
Only when he brought his own sons to visit his dying father did he “put aside the past resentments of the boy” and see “the father who will never cease to be alive in me.”