Arabic Cinema comes to London

A preview of the most ambitious season of Arab film ever to be shown in the UK.

Later this week, the Institute of Contemporary Arts will play host to ‘Safar: A Journey through Popular Arab Cinema’, a series of screenings which has been described as the most ambitious season of Arab film ever to be shown in the UK.

The week-long event, which is presented by the Arab British Centre in partnership with the Dubai International Film Festival, will take place from the 21 – 27 September and will showcase films from a fifty year period, including both re-mastered classics and exciting new releases. From literary adaptations such as The Yacoubian Building to subversive comedies like Terrorism and the Kebab; from the hit road musical Bosta to brand-new films featuring contemporary stars, the festival aims to make itself accessible to a new British audience whilst still constituting a treat for connoisseurs of world cinema. Some of the films on the programme have never been shown in the UK before and every screening will be introduced by a relevant speaker, such the BBC’s former Middle East correspondent, Tim Llewellyn, or Egyptian screen icon Hussein Fahmy. The festival will kick off on Friday 21 September with the ‘Friday Forum’, in which experts from the academic world will join film industry leaders to debate the past, present and future of Arabic cinema as a cultural form.

The festival endeavours to avoid politics and cultural stereotypes, preferring instead to offer audiences a flavour of the true culture, traditions and heritage of the Middle East and North Africa, whilst inviting them to consider the role of film in conveying social histories. With so many Arab countries in the midst of restructuring themselves politically and socially, it is more important than ever to give these films a platform in the UK right now.

The New Statesman’s Cultural Capital blog will be running interviews with the directors, actors and curators of ‘Safar’ throughout the festival.

The following highlights constitute a preview of what you can expect from the week:

"Bosta”

The first post-Civil war musical made in Lebanon and a box office record-breaker, Bosta was submitted as the official Lebanese entry in the 79th Academy Awards in the ‘Best Foreign Language Film’ category.

“Watch Out for Zouzou”

A sensual film made before the demise of cultural liberalism, Watch Out for Zouzou is perhaps the best-known film of tragic Egyptian screen icon Soad Hosni (the “Marilyn Monroe of Arabic cinema”). Zouzou (Hosni) is a student who has paid her way through college by belly-dancing in her mother's troupe. She has kept this fact a secret, but has decided to give up dancing because she has fallen in love with her college professor. The Professor breaks off his own engagement but not before his fiancée discovers Zouzou’s secret.

“The Yacoubian Building”

The most expensive Egyptian film of its time and based on the hugely popular novel of the same name, The Yacoubian Building is a scathing portrayal of modern Egyptian society since the coup d’état of 1952.

“Stray Bullet”

A hotly-anticipated new release starring actress Nadine Labaki.

Philippe Aractingi directing his box office smash-hit, Bosta. Photograph: Getty Images
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Why does food taste better when we Instagram it?

Delay leads to increased pleasure when you set up a perfect shot of your dinner.

Been on holiday? Take any snaps? Of course you did – but if you’re anything like me, your friends and family didn’t make it into many of them. Frankly, I can only hope that Mr Whippy and I will still be mates in sixty years, because I’m going to have an awful lot of pictures of him to look back on.

Once a decidedly niche pursuit, photographing food is now almost as popular as eating it, and if you thought that the habit was annoying at home, it is even worse when it intrudes on the sacred peace of a holiday. Buy an ice cream and you’ll find yourself alone with a cone as your companion rushes across a four-lane highway to capture his or hers against the azure sea. Reach for a chip before the bowl has been immortalised on social media and get your hand smacked for your trouble.

It’s a trend that sucks the joy out of every meal – unless, that is, you’re the one behind the camera. A new study published in the Journal of Personality and Social Psychology suggests that taking pictures of food enhances our pleasure in it. Diners at the food court of a farmers’ market in Philadelphia were asked either to photograph their meal or to eat “as you normally would”, then were questioned about how they found it. Those in the photography group reported that not only did they enjoy their meal more, but they were “significantly more immersed in the experience” of eating it.

This backs up evidence from previous studies, including one from this year in the Journal of Consumer Marketing, which found that participants who had been asked to photograph a red velvet cake – that bleeding behemoth of American overindulgence – later rated it as significantly tastier than those who had not.

Interestingly, taking a picture of a fruit salad had no effect on its perceived charms, but “when descriptive social norms regarding healthy eating [were] made salient”, photographing these healthier foods did lead to greater enjoyment. In other words, if you see lots of glossy, beautifully lit pictures of chia seed pudding on social media, you are more likely to believe that it’s edible, despite all the evidence to the contrary.
This may seem puzzling. After all, surely anything tastes better fresh from the kitchen rather than a protracted glamour shoot – runny yolks carefully split to capture that golden ooze, strips of bacon arranged just so atop plump hemispheres of avocado, pillowy burger buns posed to give a glimpse of meat beneath. It is hardly surprising that 95 million posts on Instagram, the photo-sharing site, proudly bear the hashtag #foodporn.

However, it is this delay that is apparently responsible for the increase in pleasure: the act of rearranging that parsley garnish, or moving the plate closer to the light, increases our anticipation of what we are about to eat, forcing us to consider how delicious it looks even as we forbid ourselves to take a bite until the perfect shot is in the bag. You could no doubt achieve the same heightened sense of satisfaction by saying grace before tucking in, but you would lose the gratification that comes from imagining other people ogling your grilled Ibizan sardines as they tuck in to an egg mayonnaise at their desk.

Bear in mind, though, that the food that is most successful on Instagram often has a freakish quality – lurid, rainbow-coloured bagel-croissant hybrids that look like something out of Frankenstein’s bakery are particularly popular at the moment – which may lead to some unwise menu choices in pursuit of online acclaim.

On the plus side, if a diet of giant burgers and salted-caramel lattes leaves you feeling queasy, take heart: if there is one thing that social media likes more than #avotoast, it is embarrassing oversharing. After a week of sickening ice-cream shots, a sickbed selfie is guaranteed to cheer up the rest of us. 

Felicity Cloake is the New Statesman’s food columnist. Her latest book is The A-Z of Eating: a Flavour Map for Adventurous Cooks.

This article first appeared in the 25 August 2016 issue of the New Statesman, Cameron: the legacy of a loser