Cinema

Patrick Stewart, the acclaimed British actor who played Captain Jean-Luc Picard in “Star Trek” and Professor Charles Xavier in the “X-Men” films, has died. He was 86.

Stewart died on Wednesday in Los Angeles following “a brief and poignant journey” with Alzheimer’s disease and Lewy body dementia, spokesperson Kelly Bush Novak said in a statement on Thursday.

Although best known for his film and television roles, Stewart spent much of his career onstage, performing Shakespeare and other classics.

His career included performances as Claudius and Macbeth, a one-man adaptation of “A Christmas Carol”, and West End and Broadway productions of Harold Pinter’s “No Man’s Land” and Samuel Beckett’s “Waiting for Godot” alongside longtime friend Ian McKellen.

Stewart earned some of the best reviews of his career for his 2007 portrayal of Macbeth, including his only Tony Award nomination. The Times of London described his Macbeth performance as “an enthralling creation of frailty, appetite, egotism and grim humour”.

“Nearly 50 years I’ve waited,” Stewart told the Associated Press news agency in 2008. “I learned it when I was 14. I memorized all the soliloquies just because I thought they were great. And they stuck, so I didn’t have to learn those bits of the play, which is a blessing, because learning lines has now become the one curse of this job.”

From working-class Yorkshire to Shakespeare

Raised in Mirfield, West Yorkshire, a working-class corner of northern England, the future 24th-century commander of a starship grew up without a bathroom in his house.

He joined an amateur drama group at 12 and, as a teenager, memorised Shakespeare for fun. A scholarship to the Bristol Old Vic Theatre School helped launch his acting career.

Stewart, who developed alopecia at a young age, had been bald since he was 19.

His childhood was also marked by domestic violence. His father, a former regimental sergeant major in the British Army, was prone to outbursts of “repeated violence against my mother,” as Stewart wrote in a newspaper piece. “Violence is always a choice a man makes and he alone is responsible for it.”

Stewart later became a patron of Refuge, a charity supporting survivors of domestic abuse.

From Shakespeare to Captain Picard

Stewart spent 14 years with the Royal Shakespeare Company, playing everyone from Mark Antony and Henry IV to Shylock and Oberon.

“People who were not in the company would say to me, ‘Give it a break. Why don’t you go somewhere else?’ And I would say, ‘To do what?’” he told the AP. “Telly?”

He eventually left and appeared in the 1981 film “Excalibur”. In 1987, shortly after performing in “Who’s Afraid of Virginia Woolf?”, he was offered a role in a science fiction series.

“I found myself in Hollywood shooting a syndicated science fiction series, which I was assured would fail,” he said.

But “Star Trek: The Next Generation” ran for seven seasons and 178 episodes. Stewart became known worldwide as Captain Jean-Luc Picard, whose command, “Make it so”, became one of the show’s best-known lines.

Stewart also played Professor Charles Xavier, the leader of the X-Men, beginning with the 2000 film “X-Men”. He returned to the role in several sequels, including 2017’s “Logan”, alongside Hugh Jackman as Wolverine.

Stewart died just days after Walter Koenig, who played Ensign Pavel Chekov in the original “Star Trek” series, which aired from 1966 to 1969.

Queen Elizabeth II knighted Stewart in June 2010. He also served as an ambassador for the International Rescue Committee.

Al-Bureij, Gaza Strip – A Sack of Flour, an 11-minute documentary by the emerging filmmaker Mona Abu Qass, draws on her personal experience to examine Israel’s use of starvation against Palestinians in Gaza during Israel’s genocidal war on the enclave.

The film is one of five documentaries by Palestinian women screened Monday at the opening of the second Gaza International Women’s Film Festival, which also marked the official launch of the Gaza Cinema Academy.

The event took place at the site of the al-Nakheel Hall in al-Bureij, central Gaza, under the slogan “Women Creating Life from Death”. The hall is destroyed, like the majority of buildings in Gaza, after three years of Israel’s war, which has killed more than 74,000 Palestinians.

The film captures Palestinians’ struggle to find food in Gaza, the dangers at aid distribution points and the lives lost while trying to obtain flour.

Through Abu Qass’s own experiences, A Sack of Flour explores how the trauma of hunger continues to affect families even after food becomes available again.

Those experiences have renewed relevance as Israeli restrictions on goods entering Gaza and cuts to food assistance have caused shortages and fears of a return to famine.

“The idea for the film stems from a personal experience and a true story,” Abu Qass told Al Jazeera. “It documents daily life in Gaza, weighed down by bombardment, destruction, siege, hunger, and loss.”

“I want to capture details that reveal suffering and people’s determination to hold on to their life,” she added. “I seek to show reality as people experience it and help viewers understand what the war has done to their relationships, dreams, and hopes.”

Highlighting struggles of the disabled

Another film, Beyond Silence, by emerging filmmaker and journalist Raghda al-Buhaisi, explores wartime struggles in Gaza for people with disabilities through the story of a deaf artist who never learned to read, write or communicate through sign language. His art studio in southern Gaza’s Rafah was destroyed by Israel, and his parents and several family members were killed.

After being displaced to Deir el-Balah in central Gaza, another family took him in and set up a modest studio by the roadside. His paintings reflect loss and displacement, expressing what words cannot through colour and line.

“I want to highlight the additional challenges people with disabilities face during war, including displacement, family loss, and the destruction of livelihoods,” al-Buhaisi told Al Jazeera. “Art can cross barriers of language and silence, turning an individual experience of pain into a visual message that conveys Gaza’s suffering to the world.”

Alongside those films were three others by emerging Palestinian women filmmakers – Soso: The Lifeline, Remnants of Light, and Dandana. The films document life in Gaza and the suffering brought by war.

Soso: The Lifeline follows an orphaned child and his donkey, who help people survive in Gaza. Remnants of Light follows a filmmaker struggling with the loss of her family and home, while Dandana tells the story of a mother whose eight children were killed, and who turns to Palestinian songs with her surviving family to cope with her grief.

The five documentaries were produced through a filmmaking diploma programme that began in March and brought together 25 young Palestinian women.

Preserving Gaza’s stories

Festival director Ezzedine Shallah said the films draw on experiences women and girls lived through during the war, offering visual testimony to daily life and giving women space to tell their stories in their own voices.

“Though their subjects differ, the films turn individual pain into broader human stories, revealing war’s psychological and social scars,” he told Al Jazeera. “They preserve stories that might otherwise never reach the screen, transforming suffering into cinematic testimony and bringing Gaza’s stories to audiences beyond its borders.”

The festival, which runs until October 31, features 73 films from 24 countries and offers a broader platform for filmmakers from Gaza and beyond.

But even with events like the festival, filmmaking in Gaza comes with formidable challenges. The destruction of cultural institutions, scarce equipment, limited funding, power and internet outages, and the pressures of war and displacement have severely restricted opportunities for film production. Women filmmakers also struggle to access training, production opportunities and international festivals.

Filmmaker Rima Mahmoud, a co-founder of the festival, said that war and the Israeli siege on Gaza – which predates 2023 – have hindered young women’s filmmaking, pushing some to use simple methods, self-fund projects and document Gaza’s reality even with the difficulties.

“Despite limited resources, these films deserve international exposure,” Mahmoud said. “Their makers need technical and financial support, translation, and partnerships with festivals and platforms.”

Resisting attempts at erasure

Palestinian filmmaker Mai Masri, based in Lebanon and another co-founder of the festival, said the films help young women tell their own stories, resist erasure and preserve collective memory, while building skills and accessing work in Gaza or through digital platforms.

The academy has also developed a filmmaking diploma in cooperation with al-Quds Open University and accredited by the Palestinian Ministry of Education.

Masri said that the academy is also now trying to help directors reach international festivals.

“We are seeking agreements with distributors to screen these films in educational and cultural institutions outside Palestine, and through international platforms and festivals focused on women’s and human rights,” she said.

“This would bring the voices of Palestinian women to a global audience, shed light on their human experiences and artistic creativity, strengthen the presence of Palestinian cinema internationally, and open new horizons for young female directors to reach global screening platforms and film festivals,” Masri added.

Award-winning filmmaker, who was detained last month, released on bond with next hearing set for October 27, campaign says.

The Immigration and Customs Enforcement (ICE) agency in the United States has released Kashmiri filmmaker Arfat Sheikh from custody after he was detained on September 24.

The award-winning filmmaker was released on Thursday, two days after he was granted bond, according to a statement by a campaign of his friends and relatives to free him.

However, ICE’s deportation case against Sheikh continues with the next hearing set for October 27, the campaign said.

Sheikh, whose work has explored conflict in his native India-administered Kashmir, was detained by the Department of Homeland Security (DHS) as he disembarked from a plane at Dulles International Airport outside Washington, DC, after arriving from California.

The 42-year-old, who lives in Alexandria, Virginia, entered the US on a student visa in 2019 to pursue graduate studies in film at Georgia State University and filed for asylum in 2020.

The campaign said he had a pending asylum application and was authorised to work and live in the US.

The DHS confirmed on Wednesday that Sheikh had been arrested on September 24 and said he “legally entered the US on a temporary basis and illegally overstayed his lawful admittance”.

A pending application does not confer legal status in the US, the DHS said, adding he ⁠will receive due process.

Sheikh’s first feature film, Saffron Kingdom, garnered multiple honours, notably best feature film at the Chicago Filmmakers Awards, Los Angeles Film and Documentary Awards, Melbourne Independent Film Festival, Wake Forest Film Festival and Anatolian International Film Awards.

In 2025, Sheikh was also recognised with the emerging filmmaker activist award at the Teaneck International Film Festival.

His detention came amid a surge in the number of ICE arrests across the US, which hit record levels over the summer. About 50,000 arrests were recorded in July and August.

President Donald Trump’s administration said in August that it was ‌working “to identify ⁠and revoke the non-immigrant visas of foreigners who have come to the US claiming to be short-term visitors, but then file for asylum to stay here permanently”.