Rome

The international dancer Roberta Di Laura was one of the hundred outstanding individuals from Italy honored at Palazzo Montecitorio in Rome in the: Sala della Regina during the event ‘100 Eccellenze Italiane’ (100 Italian Excellence), held on 5 December and dedicated to the hundred protagonists who are chosen each year and featured in the prestigious volume ‘100 ECCELLENZE ITALIANE’ edited by Riccardo Dell’Anna.

Now in its eleventh edition, this event brings together the stories, visions and achievements of those who contribute to Italy’s prestige, making it a benchmark in the world.

The ceremony, promoted by the LIBER Association and sponsored by the Presidency of the Council of Ministers and various ministries, aims to recognize the commitment and quality of those who represent a positive model for the country: personalities, companies and institutions that, with passion and competence, build a more innovative, responsible and competitive Italy every day.

A few days after receiving the ‘Ambasciatore Terre di Puglia’ award in Milan and the ‘Premio Donna D’Autore’ award in Montecitorio in October, Di Laura returns to the limelight, establishing herself as one of Italy’s most appreciated figures at a national and international level, contributing with her artistic talent to bringing prestige to Italy in the world and embodying a leading figure of ‘Made in Italy’ recognized globally.

Roberta Di Laura, born in Taranto in 1992, is a professional dancer, dance teacher, and choreographer. From a young age, she has stood out on the international dance scene for her talent, passion, and determination. At just 20 years old, she joined the International Dance Council of Paris, a UNESCO partner, an achievement that has helped cement her global reputation.

The Taranto native is winner of the International Awards, and has graced stages around the world, from Germany, Morocco, the United Arab Emirates to England, Taiwan, Tunisia, Romania, Greece, Spain, Turkey, and France. She has performed numerous times in prestigious theaters in many Italian cities, performing iconic roles from the classical ballet repertoire.

She has presented research work on dance at numerous World Dance Research Congresses from Athens to St. Petersburg, from Canada to Florida, from Ukraine to the Bahamas, in Warsaw, Mexico and in Tokyo where she was the only Italian representative to present a contribution.

Her brilliant career has made her a prominent figure in the world of dance, culminating in 2020 with her recognition as one of the most influential personalities of the year globally by the international magazine “Stars” Illustrated Magazine in New York.

She is the winner of numerous international classical and contemporary dance competitions with illustrious juries from the international dance scene and several merit-based scholarships.

Her high-level training includes advanced training and refresher courses at prestigious institutions. In addition to her brilliant artistic career, after graduating with honors from the Liceo Archita in Taranto, she earned a degree in Performing Arts and Sciences from Sapienza University in Rome, a Master’s degree, and several postgraduate refresher courses, including one at the prestigious University of Oxford, demonstrating a versatility that goes beyond the confines of dance.

Roberta Di Laura is an ambassador for the city of Taranto around the world, taking its art and excellence to ever higher levels.

Read: Italian Dancer Di Laura Shines Globally

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The post Dancer Roberta Di Laura Shines first appeared on Sindh Courier.

A new and extraordinary recognition for Apulian excellence Roberta Di Laura, a leading figure on the international dance scene, who was awarded the prestigious “Donna d’Autore” Award, an event held in the iconic Sala della Regina at Palazzo Montecitorio in Rome. This latest award once again crowns the dancer from the “City of the Two Seas” as one of Taranto’s most internationally acclaimed talents. For years, her artistic talent has honored the city of Taranto, Puglia, and Italy worldwide with extraordinary achievements in the field of dance.

The event that rewards female excellence, now in its ninth edition, is conceived and directed by Anna Silvia Angelini, sponsored from the European Parliament, the Ministry of Labour, the Municipality of Nettuno, the Province of Teramo and the Province of Chieti, was hosted by Rai journalist Vittoriana Abate and directed by director Cristian Goffredo Miglioranza with institutional greetings from the Honourable Members and Deputy Simonetta Matone and Fabrizio Santori, Secretary Councillor of the Capitoline Assembly.

The event was also included in the “Rome Art Week.” The award, “Il Cuore” (The Heart Jewel Sculpture), conceived and designed by fashion designer Fina Scigliano, represents a symbol of strength, resilience, and rebirth, in keeping with the Award’s message of combating gender violence.

Roberta Di Laura, born in Taranto in 1992, is a professional dancer, dance teacher, and choreographer. From a young age, she has stood out on the international dance scene for her talent, passion, and determination. At just 20 years old, she joined the International Dance Council of Paris, a UNESCO partner, an achievement that has helped cement her global reputation.

The Taranto native, also winner of the “La Rosa D’Oro” International Award presented by the Area Cultura Foundation at the European Parliament in Rome, has graced stages around the world, from Germany, Morocco, the United Arab Emirates to England, Taiwan, Tunisia, Romania, Greece, Spain, Turkey, and France. She has performed numerous times in prestigious theaters in many Italian cities, performing iconic roles from the classical ballet repertoire. Her performances on various Rai programs, such as “Linea Blu” and “E Viva il Videobox,” are also noteworthy.

She has presented research work on dance at numerous World Dance Research Congresses from Athens to St. Petersburg, from Canada to Florida, from Ukraine to the Bahamas, in Warsaw, Mexico and in Tokyo where she was the only Italian representative to present a contribution.

Her brilliant career has made her a prominent figure in the world of dance, culminating in 2020 with her recognition as one of the most influential personalities of the year globally by the international magazine “Stars” Illustrated Magazine in New York.

Winner of numerous international classical and contemporary dance competitions with illustrious juries from the international dance scene and several merit-based scholarships, she received the “Culture of Dance Award” at the “Milano Dance Competition” and placed first in the classical dance section at the international competition “Le Stelle della Danza” whose jury included Isabelle Ciaravola, étoile of the Paris Opera.

Her artistic career, rich in successes and satisfactions, also boasts the organization of prestigious events including the “International Dance Gala – Roberta Di Laura” held in Milan for the tenth anniversary of her artistic career.

A multifaceted artist, a citizen of the world, yet deeply tied to her homeland. She has received many awards and recognitions in Puglia but also at a national and international level, including: International City of Crisalide City of Valentino Award, “Nilde Iotti Award”, “City of Monopoli Award – Excellent Young People”, “Taranto Adoc Trust Award”, “Re Manfredi International Culture Award”, “Universum Donna International Award”, “Ambassador of Grace and Beauty Plaque” from the Municipality of Statte (town of residence), “Women of Puglia Award”, “Lifetime Achievements Award”, “Salento Woman Award”, “Corriere di Taranto Award – Women of Taranto”, “Dies Virtutis Award”, “Ispiring Women´s Aichyci Award”, “A Lifetime Achievement Award for Dance”, “Vigna D’Argento Award”, “Targa Talento Jonico”, “Dea Ebe Award”, “La Maschera Banfi Award”, “Tugliesi Excellence Award”, “ Athlete from Taranto”.

And it is precisely “for having honored the most beautiful image of Puglia” that Di Laura received, among other awards, the “International Adriatic Award” in the Marche in 2023.

Her high-level training includes advanced training and refresher courses at prestigious institutions such as the Ballet School of the Teatro alla Scala in Milan, the Dance School of the Teatro dell’Opera di Roma, and the Rome Ballet School, where she had the opportunity to attend a workshop with the legendary Carla Fracci. She has also refined her technique with teachers from the greatest international academies, including the Paris Opera Ballet, the Cuban Ballet, the Bolshoi Ballet in Moscow, the Vienna State Opera, and the Vaganova Academy in St. Petersburg.

In addition to her brilliant artistic career, the Taranto-born artist, after graduating with honors from the Liceo Archita in Taranto, earned a degree in Performing Arts and Sciences from Sapienza University in Rome, a Master’s degree, and several postgraduate refresher courses, including one at the prestigious University of Oxford, demonstrating a versatility that goes beyond the confines of dance.

Roberta Di Laura is an ambassador for the city of Taranto around the world, taking its art and excellence to ever higher levels.

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Read: Italian Dancer Di Laura Shines Globally

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By Anuj Chakrapani

The transformation of the Indian village

When we think of Indian villages, we picture massive sun-kissed fields where humans appear like ants from a distance, where latch-less thatched houses are more secure than those in the city with sophisticated surveillance systems, and where technology is absent but seldom missed. Our imagery is backed either by our vacation experiences from our childhood, or a fantasized version seen in mainstream movies. Through cinema, we are also occasionally reminded of them as places of extreme poverty, where even drinking water comes at a premium. But there is a different kind of village in India today. One where the mob is more powerful than the law, one where the cops think twice before setting foot on the dusty grounds. In one such village, two men find themselves valiantly combating the rage of a mob, just hours after a video goes viral.

Fasten your seat belts

Director Karan Tejpal’s movie “Stolen” unfolds at such a breakneck pace that if you are a movie-goer who walks in late into the cinema hall, you may be in for a surprise. The movie’s most important scene happens in the first 30 seconds of the start. An infant is kidnapped (hence the name “Stolen”) from the arms of its sleeping mother, Jhumpa (an outstanding Mia Maelzer), in a deserted railway station in the middle of the night. Moments later, one of the film’s two leading men – Raman (Shubham Vardhan) – finds himself amid a scuffle with Jhumpa, some railway officials, and a cop, who all think he is the kidnapper. Within a short while, the man’s brother Gautam (Abhishek Banerjee) also gets involved, trying to defend his sibling. What happens in the next 24 hours or less forms the rest of the plot.

Breathtaking action

“Stolen” is based on true events, and Director Karan Tejpal adopts an unfiltered approach to the movie’s creation. With the help of his cinematographers Isshaan Ghosh and Sachin Pillai, he shoots the scenes with an amazing level of authenticity. A different filmmaker may have compromised the setting for a smooth movie-viewing experience. But the makers of “Stolen” don’t play it safe. The first half of the movie is almost entirely shot in the dark, with no artificial lighting. There is a nail-biting stretch in a deserted site, where the characters grope in the dark, desperately looking for the kidnapper and related clues. Eschewing the synthetic blue tint commonly seen in movies, the filmmakers air-drop us into the proceedings, as we only “see” as much as we “would” if we were in the dilapidated building ourselves. The action in “Stolen” is raw, without lazy stunts and plasticky special effects. Take, for instance, the scene where scores of villagers race towards a moving jeep. Scarier than a violent Tsunami wave, we tell ourselves the mob-filled Indian village is the last place you want to be.

Emotional core

Despite being a pulsating, suspense-filled action thriller, Stolen has a deeply emotional core. Powered by top performances by a cast that does not appear to be Bollywood A-listers, “Stolen” has an unshakeable human element, as we yearn for the baby to be found and returned to her real mother. With its unwavering focus on the principal characters and the main plot, “Stolen” stays focused on the mission it sets out to achieve. And towards the end, there is a fitting nod to a forest Goddess and how She ensures justice with Her miracles.

Despite not having big names, Stolen thrills us in endless ways. Stolen is not a movie to be watched while multitasking. It demands your attention and offers a massively rewarding experience in return. It is the closest you will get to a virtual reality experience without a VR headset.

Read: Is the movie theatre dying?

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Anuj Chakrapani loves music and cinema among all art forms. He believes their beauty lies in their interpretation, and that the parts is more than the sum. Anuj lives in the SF Bay Area.

Courtesy: India Currents

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International success without borders for the Italian professional dancer Roberta Di Laura, protagonist in the last days of three international events starting with the “International Dance Gathering” held in Istanbul, Turkey, by Naiada Dance Art, where the young artist was a guest dancer and teacher.

A few days after the extraordinary success achieved in Turkey, Di Laura was again at the center of a renowned event in the world of dance. She was among the prestigious personalities of the international dance sector who took part in the 62nd World Congress of Dance Research held recently in Mexico, presenting a Master Class projected by video at the Atequiza Theater on the theme of “Pre Ballet with Fun,” in the presence of numerous experts from around the world. This prestigious achievement underscores the excellent quality of Di Laura’s work, appreciated and recognized worldwide, starting with Germany, where the young dancer is currently one of the most sought-after classical dance teachers.

Di Laura has presented numerous other projects and research works at renowned world dance congresses, from Athens to St. Petersburg, from Canada to Florida, from Ukraine to the Bahamas, up to Warsaw and Tokyo, where she was the sole Italian representative to present a contribution.

Noteworthy is her performance in Reggio Emilia (Italy) on the occasion of the 35th anniversary of the foundation of the cultural association “Universum Academy Switzerland,” at the historic “Sala del Capitano” of the Hotel Posta, where, on the same occasion, Di Laura received the appointment of Head of the Diplomatic Corps of Universum Academy Switzerland.

Roberta Di Laura, born in Taranto (southern Italy) in 1992, is a professional dancer, teacher and choreographer who has shone for her talent, passion and determination in the world of dance since she was very young, bringing honor to the city of Taranto and Apulia on the world stage. At just 21 years old, in 2013, she joined the International Dance Council of Paris (CID), recognized by UNESCO, an achievement that helped consolidate her worldwide fame.

Roberta, recently winner of the “International Award La Rosa D’Oro” presented by the Area Cultura Foundation at the European Parliament in Rome, has graced stages around the world—from Germany, Morocco, and the United Arab Emirates to England, Taiwan, Tunisia, Romania, Greece, Spain and Turkey. She has performed in numerous Italian cities, including participating in the “Titanic Live Concert” in Taranto as prima ballerina and main performer (an international event set to music by Robin Gibb and Robin J. Gibb – Bee Gees), and at the Teatro Olimpico in Rome and the Teatro Manzoni in Monza, interpreting various iconic roles from the classical ballet repertoire. Her appearances in Rai broadcasts such as “Linea Blu” and “E Viva il Videobox,” as well as at prestigious festivals including “Levante Danza Festival” (Taranto), “Festival Sanremo Benessere,” “Giovani Eccellenze” (Urbino), “Gran Gala Universum” (Pescara), “Festival Ballet -Ex” (Rome), “Kibatek – World Poetry Festival” (Taranto), and many others, are also of great importance.

Her brilliant career has established her as a prominent figure in the world of dance, culminating in 2020 with recognition as one of the world’s most influential personalities in the international dance scene.

She has won numerous international competitions in both classical and contemporary dance, with illustrious jurors from the global dance community, and has earned several merit scholarships. She received the “Premio Cultura della Danza” at the Milan Dance Competition and ranked first in the classical dance section at the international competition “Le Stelle della Danza,” whose jurors include Isabelle Ciaravola, étoile of the Paris Opera.

Her artistic career also includes organizing prestigious events, such as the “International Dance Gala – Roberta Di Laura” held in Milan for the tenth anniversary of her artistic career. In 2024 she curated the artistic direction of the international dance festival “Tanzfestival Stuttgart” held in Stuttgart.

A multifaceted artist, a global citizen deeply connected to her homeland, she has received numerous awards and recognitions in Puglia as well as on national and international levels, including: International Award City of Crisalide, City of Valentino; “Nilde Iotti Award”; “City of Monopoli Award – Excellent Young People”; “Fiducia Adoc Taranto Award”; “Re Manfredi International Culture Award”; “Universum Donna International Award”; “Ambassador of Grace and Beauty” Plaque from the Municipality of Statte (city of residence); “Women of Puglia Award”; “Lifetime Achievements Award”; “Salento Woman Award”; “Corriere di Taranto Award – Women of Taranto”; “Dies Virtutis Award”; “Inspiring Women’s Aichyci Award”; “A Lifetime Achievement Award for Dance”; “Vigna D’Argento Award”; “Targa Talento Jonico”; “Dea Ebe Award”; “La Maschera Banfi Award.”

Her high-level training includes studies at prestigious institutions such as the Ballet School of La Scala in Milan, the Dance School of the Teatro dell’Opera in Rome and the Ballet School of Rome, where she had the opportunity to intern with the legendary Carla Fracci. She has also refined her technique with teachers from the world’s leading academies, including the Paris Opera Ballet, the Cuban Ballet, the Bolshoi in Moscow, the Vienna Opera, and the Vaganova Academy in St. Petersburg.

The artist from Taranto, in addition to her brilliant artistic career, earned a degree in “Performance Arts and Sciences” at Sapienza University of Rome, followed by a Master’s degree and several postgraduate refresher/specialization courses, including one at the University of Oxford, demonstrating a versatility that goes beyond the boundaries of dance.

Roberta Di Laura is an ambassador of Italy to the world, bringing Italian art and excellence to ever higher levels.

Read: Popular Dance: Is It Folklore?

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Photo courtesy: Di Laura and her website 

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By Fatima Al Zahraa Hassan, TV Director and Writer, Egypt

In 1964, in Paris, the global Egyptian star Omar Sharif was filming his famous movie Doctor Zhivago. He was living at the time with his British actor friend Sir Tom Courtenay in the same apartment. Sharif noticed Courtenay’s deep passion for the results of the English football team Hull City, which was then playing in the second — and sometimes third — division. Courtenay was so devoted that he would contact his friends in England every Wednesday to learn the latest results.

Omar Sharif, a true football enthusiast, was also a close friend of the late Captain Saleh Selim, former president of Egypt’s Al Ahly Sporting Club, and was known himself as a talented footballer. Over time, Sharif’s attachment to Hull City deepened. Hull is a port city in eastern England, located on the north bank of the River Humber, covering an area of about 71.45 square kilometers. It is a coastal city with a significant commercial port.

Meanwhile, a young Egyptian named Assem Allam, who emigrated with his family from Egypt to Britain in 1968, was going through a financial crisis. He worked as a dock laborer and later as a welder at the city’s port. Eventually, he completed a degree in Economics at the University of Hull and started working as an accountant at Tempest Diesel in 1981. As his financial situation improved, he secured a loan to buy the company, renaming it Allam Marine, a manufacturer of industrial electric generators. Under his leadership, the company achieved global success.

Allam went on to earn a PhD in Economics and became a leading figure in the UK business world. In 2008, Queen Elizabeth II honored him as the Best Entrepreneur in the UK.

Allam was a friend of British actor Tom Courtenay, and the friendship between Allam, Courtenay, and Omar Sharif grew stronger over time.

Omar Sharif Receives Honorary Doctorate from the University of Hull

In 2010, the University of Hull invited Omar Sharif to receive an honorary doctorate, recognizing his passion for the Hull City football club. Sharif immediately accepted the invitation, driven by his love for the club. During his visit to Hull, he met businessman Assem Allam, who surprised him with the news:

“I bought Hull City — and I invite you to dinner at the club!”

Sharif was overjoyed. He suggested that Allam invite Tom Courtenay and Ken Wagstaff, the club’s legendary striker from the 1960s and 1970s. That day, Allam, Courtenay, and Wagstaff gifted Omar Sharif a Hull City jersey with his name and the number 1 — a symbol of honor during the club’s golden era.

Egyptian Pharaoh Ahmed Elmohamady Leads Hull City

The golden era of Hull City under Allam’s ownership peaked when Egyptian footballer Ahmed Elmohamady led the team. Hull reached the Premier League and even played in the FA Cup Final against Arsenal in 2014 at Wembley Stadium in London, narrowly losing 3–2.

Allam never forgot his homeland. He was committed to bringing Egyptian players into the team. During Hull City’s only appearance in the UEFA Europa League, its captain was Ahmed Elmohamady. Other Egyptians who played for Hull City included Ahmed Fathi and Mohamed Nagy Gedo.

Omar Sharif Inspires British Fans to Cheer for Hull City.

Before the historic match against Arsenal, Omar Sharif recorded a voiceover for Hull City’s promotional advertisement. The ad featured him reciting a poem titled “The Tyger” written by British poet William Blake (from Songs of Experience, 1794).

The poem says:

Tyger Tyger, burning bright,

In the forests of the night;

What immortal hand or eye,

Could frame thy fearful symmetry?

In what distant deeps or skies

Burnt the fire of thine eyes?

On what wings dare he aspire?

What the hand, dare seize the fire?

And what shoulder, & what art,

Could twist the sinews of thy heart?

And when thy heart began to beat,

What dread hand? & what dread feet?

What the hammer? What the chain,

In what furnace was thy brain?

What the anvil? What dread grasp,

Dare its deadly terrors clasp?

When the stars threw down their spears

And water’d heaven with their tears:

Did he smile his work to see?

Did he who made the Lamb make thee?

Tyger Tyger burning bright,

In the forests of the night:

What immortal hand or eye,

Dare frame thy fearful symmetry?

Omar’s performance was met with great admiration from Hull fans and the club’s management. Fans gathered to meet him, cheered his name, and asked for autographs on sports memorabilia.

This appearance would be Sharif’s final public engagement with the club. In 2015, a year after that monumental match, Hull City fans mourned the passing of the legendary actor. Before their game against Huddersfield Town, the fans stood for a minute of silence and raised flags bearing his image in the stands, while the club displayed his photo on the stadium’s big screens — a heartfelt farewell to a global icon who became one of their own.

First published in CAJ International Magazine | 15 August 2025 Edition | Biography

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Published under the International Cooperation Protocol with The Silk Road Today, Cairo, Egypt, and Middle East Business| Life Magazine, Abu Dhabi 

Read: Review: Egyptian Film ‘My Girl’

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• Although streaming movies has posed significant hurdles for traditional cinemas, adaptation through innovation may likely offer pathways toward sustained relevance within an ever-evolving industry landscape.

By Nazarul Islam | USA

The landscape of movie consumption has undergone a seismic shift over the past decade. With the advent of streaming services, audiences now have unprecedented access to a vast library of films and TV shows at their fingertips.

This convenience and variety have posed significant challenges to traditional movie theaters, which once dominated the entertainment industry. In this article, I have explored how streaming movies through entertainment channels has impacted traditional movie theaters, examining both the challenges and opportunities that have emerged as a result.

The rise of streaming services like Netflix, Amazon Prime Video, Disney+, and HBO Max have revolutionized how people watch movies. These platforms offer extensive libraries that can be accessed anytime, anywhere, often for a fraction of the cost of a single theater ticket. The convenience factor cannot be overstated; viewers no longer need to leave their homes or adhere to showtimes.

Additionally, streaming services frequently release exclusive content that cannot be found in theaters. This original programming has attracted millions of subscribers who might otherwise spend their entertainment dollars at the cinema.

Declining Attendance in movie theaters are pointing towards challenges faced by cinema houses, and theaters, across the western world. One of the most apparent impacts are being felt due to declining numbers in our traditional movie houses.

As more people opt for the comfort and convenience of home viewing, theater foot-traffic has decreased significantly. This decline was exacerbated by the COVID-19 pandemic when many theaters were forced to close temporarily or operate at reduced capacity.

With fewer patrons buying tickets and offers stimulating concessions, theaters continue to face financial strain. Operating costs remain high while revenue streams dwindle. Smaller independent theaters are particularly vulnerable as they lack the financial cushion that larger chains possess.

Advancements in home entertainment technology have also contributed to the shift in audience preferences. High-definition televisions, surround sound systems, and even affordable projectors allow consumers to replicate much of the cinematic experience in their living rooms.

Can this shift in viewing choices be addressed? Despite these challenges, there are several ways in which traditional movie theaters can adapt and thrive in this new landscape.

Enhanced viewing experiences

To compete with home viewing options, some theaters are investing in enhanced viewing experiences such as IMAX screens, 3D films, and luxury seating with food and beverage service. These premium offerings provide an experience that cannot be easily replicated at home.

Perhaps theaters can also diversify their offerings by hosting special events such as film festivals, live broadcasts of concerts or sports events, and themed screenings. These unique experiences can draw audiences who seek more than just a standard movie showing.

Interestingly, some streaming services are beginning to partner with traditional theaters for limited releases of high-profile films. This symbiotic relationship allows streaming platforms to generate buzz around new releases while giving theaters exclusive content that attracts viewers.

The rise of streaming services has undeniably disrupted traditional movie theaters but it does not spell their end. By embracing innovation and adapting to changing consumer preferences, theaters can continue to play a vital role in the entertainment ecosystem.

While challenges abound—declining attendance rates and financial pressures among them—there are ample opportunities for growth through enhanced viewing experiences and strategic partnerships with streaming platforms.

Although streaming movies has posed significant hurdles for traditional cinemas, adaptation through innovation may likely offer pathways toward sustained relevance within an ever-evolving industry landscape.

Read: Conscious Journeys into Afterlife

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The Bengal-born writer Nazarul Islam is a senior educationist based in USA. He writes for Sindh Courier and the newspapers of Bangladesh, India and America. He is author of a recently published book ‘Chasing Hope’ – a compilation of his articles.

The post Is the movie theatre dying? first appeared on Sindh Courier.

Pooneh Nedai

Editor in chief of Shokaran magazine/ Iran

TEHRAN: Iranian filmmaker Jafar Panahi has been named as “Asian Filmmaker of the Year” at the 30th Busan International Film Festival in South Korea. This important award is given to those who have made a strong impact on Asian cinema. Panahi received it for his powerful films and his courage to continue working under restrictions. On this occasion, we take a look at his life, his important works, and the challenges he has faced over the years.

Early Life and First Films

Jafar Panahi was born in 1960 in Mianeh, Iran. He began his career as an assistant to the famous Iranian director Abbas Kiarostami. His first feature film, The White Balloon (1995), won the Camera d’Or at the Cannes Film Festival. The film tells the story of a young girl trying to buy a goldfish for the Persian New Year. It showed Panahi’s talent for telling simple, touching stories about everyday people.

Panahi continued with films like The Mirror (1997), The Circle (2000), and Crimson Gold (2003). These movies focused on the lives of women and the poor in Iran. The Circle won the Golden Lion at the Venice Film Festival but was banned in Iran because of its strong message about women’s rights.

Arrest and Film Ban

In 2010, Jafar Panahi was arrested by the government. He was accused of making films that were against the government. He was sentenced to six years in prison and banned from making films, giving interviews, or leaving Iran for 20 years. Many artists and organizations around the world protested this decision.

Even with this ban, Panahi continued to make films secretly. In 2011, he made This Is Not a Film, which was shot inside his home. The film was smuggled out of Iran on a USB drive hidden in a cake and shown at the Cannes Film Festival. It became a symbol of creative resistance.

He later made Closed Curtain (2013), Taxi (2015), and 3 Faces (2018). In Taxi, Panahi filmed from inside a car while pretending to be a taxi driver in Tehran. The film won the Golden Bear at the Berlin Film Festival. It was another way for him to keep making movies under the government’s restrictions.

In one of his interviews, Panahi said:

“When a filmmaker is forbidden from making films, it does not mean he stops being a filmmaker. He simply finds another way to tell his story.”

International Awards and Recognition

Despite all the challenges, Jafar Panahi has received some of the most important awards in world cinema. In 2025, he won the Palme d’Or at the Cannes Film Festival for his film A Simple Accident. This made him the first Asian director to win the three biggest film awards in Europe:

The Golden Lion (Venice) for The Circle,  The Golden Bear (Berlin) for Taxi, and The Palme d’Or (Cannes) for A Simple Accident.

These awards show that his work is respected not only in Iran but all around the world.

Panahi once said: “Cinema is my way of expressing truth. Even if I have no camera, no budget, or no permission, I will still find a way to create.”

A Strong Message from Busan

The recent award at the Busan Film Festival is another recognition of his impact on cinema. In a message for the festival, Panahi said: “This award reminds me that cinema can still bring people together beyond borders, languages, and restrictions. I accept this prize not just for myself, but for all artists who continue to create in silence, in exile, or under pressure.”

A Symbol of Courage and Creativity

Jafar Panahi is not just a talented director but a symbol of freedom and bravery. His films talk about important issues and give a voice to people who are often not heard. His story shows how powerful cinema can be, even under the hard conditions.

He once wrote, “As long as there is reality, there is cinema. As long as people are suffering, there is a story to tell.”

Today, Panahi is seen as a hero of world cinema. His work inspires filmmakers and audiences everywhere to speak the truth and never give up on creativity.

Read: Sindhi Rap Breaks The Barriers

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Courtesy: The AsiaN, Seoul, South Korea

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Rahul Aijaz

Writer & Filmmaker, Film N’ Chips Media Productions

KARACHI: Rapper Babar Mangi may have broken out with Aayi Aayi in Coke Studio, but his journey to the top of Sindhi hip hop started way back. Born and raised in Sukkur, Mangi tried many things before he became known for rapping and music production.

“We didn’t have a lot of money growing up so we hustled a lot,” says Mangi. “I did photography, made videos for students, and did graphic designing to earn a little. We had a small business called Fortygraphy, which did quite well back in the day when I was 13 or 14 years old.”

Growing up, his father bought him a camera which he “used to earn a few bucks with” and bought himself a Zoom H1. He would often write verses and record them on the device.

“I would record them in our car because there was a vegetable seller who used to come and shout in the street daily and it would mess up my recordings,” says Mangi, adding how he used Magix Music Maker and Audacity to make beats and mix his compositions.

Years before Busin ja Dhika and Gareeb ka Bar, in his teen years, Mangi wrote his first rap – a diss track about a former friend whom he had a conflict with that involved his girlfriend.

“I couldn’t fight so I wrote a diss track about him,” Mangi laughs. “It gained 70 or 80k views back in the day.”

However, that was not the formal beginning of his music career. He moved to Karachi to pursue filmmaking. But as he studied at SZABIST, he realized filmmaking was not for him.

“I can’t be on set for 30 hours. I need some peace to be able to create. I was already doing music then and took some more courses during my studies. I helped others in their thesis films. So, it became a part of me through the process.”

Film education certainly helped him be an all-rounder since he is very much hands-on in the production of his music videos. And he admits that.

“I realized people don’t try many different things. You must try and fail and learn. You must do it quickly so you fail fast and then succeed.”

It is easy to notice that Mangi is completely obsessed with his craft and has spent nearly a decade perfecting it. And like all artists, his upbringing and childhood has had a big role to play in it.

“Artists write more about the past. So, my time in Sukkur plays a part in my work. I got all the stories and experiences while living there.”

Mangi also discusses how he found home in rap more than traditional singing.

“In hip hop, it’s relatively easier to express yourself. In traditional singing, you need to perfect your vocals before you start. But in rap, rawness can also be appreciated so you can start early.”

He says if he were a singer, he would have spent more time learning before he started performing. “In rap, I just straight away went into it. There was nobody around to teach me so there were no limitations.”

In terms of themes that rap allows him to explore, he once again believes there are no limitations. “I feel you can talk about anything in hip hop. It’s also a personal genre where you can showcase your personality more freely. It’s not just a counterculture phenomenon in which you rebel against the system, but also against yourself. You can be more vulnerable.”

One can see that vulnerability and openness in his writing – the way he mixes the personal struggles with the social realities of Sindh. Add in his signature humorous style and the music becomes a fun experience that also shows the society the mirror. That is the reason why his music connects with the masses, especially in Sindh and across the Sindhi diaspora in the world.

His use of Sindhi language is deliberate too. In a country where the mainstream music, film and arts are dominated by Urdu language, artists speaking in other languages are often sidelined.

“People used to tell me not to rap in Sindhi,” he says. “I found it weird because it’s a fresh culture that hasn’t been presented to the world. If we showcase it well, people will like it. People like new things. As I started doing it, I saw more people coming forward. If we don’t believe in our culture, how will it grow?”

He addresses the isolation he faced when he first moved to Karachi – where Sindhis coming from other parts of the province are often discriminated against.

“When I first moved to Karachi, I would feel alienated being a Sindhi in the university. And I used to say, “You all live in Sindh, you guys are supposed to learn to speak Sindhi. Why are you making me feel unfit to be there and alienating me just because I speak Sindhi?”

People’s perception of Sindhis as only a ‘wadera’ (feudal lord) had a lot to do with this. But that’s slowly changing as more Sindhi artists come forth and showcase the native culture which has long been pushed aside.

“Now I see people have started taking ownership of the Sindhi culture.”

He says, “But there is still a long way to go because I see people distancing themselves from Sindhi arts and music. Even some Sindhi artists only create music in Urdu because they think it will get them more viewership. If you don’t believe in your culture, then who will?”

While Mangi is proud to claim Sindhi culture, he is not deluded to the ground realities of the province. Yes, Sindhi culture goes back several millennia and is incredibly rich and remains under-represented in music, film and arts. But the current state of the province – thanks to decades of state-level corruption, theft, deliberate marginalization and growing unrest and poverty – is nothing to be proud of. That leaves us today with no modern heroes to look up to, no new achievements to pass on, and no new stories to sing about.

Mangi wants to change that too.

“I think we are a people who are overly proud of ourselves. We talk about the kind of people we are and celebrate our past achievements in our music and art but we haven’t exactly evolved and achieved anything as of late. What are we so proud of?”

Mangi’s mantra is: instead of fighting it and criticizing everyone, let’s give people something to be proud of. “Our ancestors achieved a lot,” he says. “And we should try for the same.”

He believes if we have legendary Sindhi poets such as Shah Abdul Latif Bhittai and Sachal Sarmast, they shouldn’t only be talked about in literary festivals but should reach more and more people. The format needs to change so that a wider audience is aware of our art.

“We are just proud that we create great art but we aren’t bringing it to the people so the world sees it. We are under-recognized in that way.”

Sindhi artists have begun attracting mainstream attention in recent years but there is more room to grow. “The issue is that there aren’t enough Sindhi artists producing art and music in Sindhi. That’s why the organizers and brands don’t believe that there would be an audience for them. Now they have begun creating but not on a large enough scale yet. How many Sindhi artists can you find on Spotify? There is an audience but we need to start creating work. We need to show people that. A Ho Jamalo (a Sindhi folk song) rendition on YouTube would have more than 30 million views. Where are these people coming from? These people exist and we need to start making art for them and push it into the algorithm so everyone recognizes it.”

So far, his rise as a premier Sindhi rapper and music producer has been a fun ride. And it’s also thanks to his collaborations which allow him to diversify and fuse with artists of different styles and genres, especially Amjad Mirani, with whom Mangi partners up with often. In Manig’s words, his own humorous touch complements Mirani’s intellectual and poetic approach, making them a good team.

Their tracks such as Busin ja Dhika went viral earlier this year and garnered praise from across the subcontinent and many other countries. The title literally translates to the push-and-shove one experiences in local bus rides and explores the bus as a symbol of life where one faces many ups-and-downs.

Released in July, Mangi’s latest song Sanam Sopari – in collaboration with Sahiban and Muhammad Masood, whose music video is directed by Imran Baloch – is a hyperlocal folk song set in the desert region of Tharparkar, the area and culture whose stories, sounds, and people rarely make it into the mainstream narrative, even within the country.

The track also features Borindo, a 5000-year-old wind instrument from the Indus Valley Civilization and elements of traditional Thari weddings like ‘Sera’ – a communal style of acappella clapping and singing by women.

Baloch’s direction captures the signature beauty of Tharparkar and its people while Mangi provides the perfect soundtrack. The package becomes a love letter to Sindh where diversity and colours are not just welcome, they are celebrated.

It’s evident that these ideas of love, peace and at the same time, self-reflection and harmony are embedded deeply throughout Mangi’s work.

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Courtesy: The AsiaN, Seoul, South Korea 

Read: Faiza Ali: The Young Luminary of Sindhi Music

The post Sindhi Rap Breaks The Barriers first appeared on Sindh Courier.

Karachi, Sindh

The premier of Pakistani horror film DEEMAK was held at a local cinema marking a new milestone for the genre in Pakistan, with rave reviews and thunderous applause by the celebrities, film critics, and media.

Directed by Rafay Rashdi, presented by Syed Murad Ali and WahWah Productions, DEEMAK is a gripping supernatural horror, written by Ayesha Muzaffar of Abu’s Jinns fame, which delves into the haunting consequences of repressed trauma and dark secrets. With its chilling visuals, compelling performances, and eerie soundtrack, the film’s trailer has already been hailed as a trailblazer for horror in South Asian cinema.

The star-studded premiere was attended by DEEMAK’s leading cast members Sonya Hussyn and Faysal Quraishi, beside Samina Peerzada and Javed Sheikh, Aariz, and Anaya Abbas. Present on the event were notable figures from the Pakistani entertainment industry including Wajahat Rauf, Shazia Wajahat, Yashma Gill, Deepak Perwani, Saqib Malik, Ushna Shah, Usman Peerzada, Aijaz Aslam, Zara Noor Abbas & Asad Siddiqui, Sunita Marshall, Hasan Ahmed, Junaid Khan, Sidra Iqbal, Osama Tahir, Adnan Shah Tipu, Sultana Siddiqui, Yasir Hussain, Ehtesham Ansari, Masarrat Misbah, Shamoon Abbasi, Nadir Toosy, Madiha Naqvi, Hassan Zia, Ahmed Hassan, Nida Yasir & Yasir Nawaz, Saife Hassan, Shahzad Nawaz, Noor ul Huda Shah, Danish Nawaz, and Sana Hussyn who were all praises for DEEMAK’s bold narrative, brilliant casting, striking cinematography, and its ability to authentically tap into your fears.

Speaking to the press on the occasion, the leading lady Sonya Hussyn expressed, “I’ve always wanted to do something in this genre but was waiting for the right team. When Rafay Rashdi approached me for DEEMAK, looking at the legendary cast consisting of Samina Peerzada, Javed Sheikh, Bushra Ansari and Faysal Quraishi, and seeing Rafay’s passion for the project, I was ready to take the plunge. We have worked really hard to bring you something special and it has our tears and fears in it as a family. What you will witness now is a sum total of all of this and I hope you love it as much as we do”.

The much-loved actor Faysal Quraishi shared his excitement, “DEEMAK is an exploration into the unseen forces that shape our lives.”

“As the director of DEEMAK, I set out to execute a story that delves into the quiet horrors of generational trauma and mental health issues often brushed under the rug in our society”, said Rafay Rashdi during a pre-screening interview. “Through the lens of supernatural thriller, we explore how negativity festers when left unaddressed, and how healing begins when we confront our fears. DEEMAK is ultimately a story of resilience and the power of breaking cycles.”

Actress Samina Peerzada commented, “DEEMAK is not just a horror film, it’s a labor of love. DEEMAK is about family torn apart by negativity, DEEMAK will scare you and also bring tears to your eyes.”

The audience in attendance on the premiere described DEEMAK as “a hauntingly original take on horror” and commended the film’s atmospheric storytelling and layered characters. The film’s sound design and visual effects were also widely lauded for elevating the viewing experience of Pakistani cinemagoers.

Following its stellar premiere, DEEMAK is set to infest cinemas nationwide this Eid-ul-Adha, with high expectations for both box office performance and audience acclaim. (PR)

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Read – Entertainment: Less Could Truly Be More

The post Deemak – Horror Movie Premiered in Karachi first appeared on Sindh Courier.

Kazan, Russia

“On the fabulous bank of the Kazanka, in rare moments the world reveals its soul, and then you understand that all the pain, all the doubts were just a shadow on the path to this light.”

The Kazansk Poetic Theater “Dialog” hosted a captivating literary and theatrical event titled “Egyptian Nights” on May 20th at 16:00, taking place at the Museum of A. M. Gorky and F. I. Shalyapin in Kazan.

This special poetic etude drew inspiration from the legendary “Arabian Nights” and the modern Arabic literary masterpiece “Sixty Love Letters to Her” by renowned Egyptian poet Ashraf Aboul-Yazid Dali, as translated into Russian by poet Eldar Akhadov.

Blending classical Arabic themes with contemporary poetic emotion, “Egyptian Nights” promises an evening of romance, mystery, and cultural enchantment. The performance featured prominent figures of Russian literature and theater, including Eldar Akhadov, whose translations bring the sensual and philosophical depth of Arabic poetry to Russian-speaking audiences.

The production “Egyptian Nights” is an elegant fusion of Eastern poetry, philosophy, music, and theater. At the heart of the performance are the poems of Ashraf Dali, translated by Eldar Akhadov, intricately woven into the classic narrative of “One Thousand and One Nights.”

The director’s vision transforms the familiar tale of Scheherazade into a profound etude on feminine wisdom, love, and the power of the word.

Ashraf Dali’s poems sound like incantations—concise, sensual, and rich in metaphor. Their recitation becomes not just a poetic reading, but a nearly ritualistic act. Particularly striking are the love letters, where each stanza is a miniature parable.

Yulia Guryanova (Scheherazade) faces a complex role: she must be a wise storyteller, a loving sister, and a clever diplomat all at once. The actress conveys this complexity, gracefully balancing tenderness and confidence.

Rafael Khafizov (Shahryar) portrays a king who is not merely a tyrant, but a man torn between cruelty and a longing for sincerity.

The sisters (Vera Chernyshova, Olga Budrina, Nelli Kamaleeva) engage in dialogues on feminine wisdom that feel like guidance—delivered without excessive didacticism. Each embodies a different facet of womanhood.

“Egyptian Nights” is a meditative performance where poetry becomes a weapon against darkness. It is not only a story of salvation, but also a testament to how art can soften even the hardest of hearts.

Poetess Olga Levadnaya, who inspired the work, said that:

“The production leaves one with the sensation of having witnessed not merely a theatrical event, but an ancient ritual—where every word is a spell, and every poem a key to redemption. The event aimed to strengthen cultural dialogue between Russia and the Arab world by showcasing the universal power of poetry and love across time and geography. The audience witnessed a theatrical journey that spans centuries—from the tales of Scheherazade to the intimate verses of modern-day poetic confession.”

Admission was free, and all literature lovers, scholars, students, and members of the general public were warmly invited to attend.

Read: ‘Egyptian Nights’ in Kazan

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Courtesy: Euro Arab International Newspaper (Posted on May 21, 2025)

The post Theater: Kazan Hosts ‘Egyptian Nights’ first appeared on Sindh Courier.