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DUBAI: British Lebanese actor Razane Jammal has kicked off the awards season with a big win — in style.

Jammal accepted the Best Actress in a Cinematic Role Award at the 17th edition of the Arab Satellite Festival in Cairo, while wearing an all-black gown from Lebanese designer Georges Chakra.

Jammal took to Instagram to celebrate the win, writing: “Incredibly proud to accept the Best Actress in a Cinematic Role Award for ‘Asad.’ Layla is a character very close to my heart because she reminds me of my mother in so many ways. She was a strong-willed woman who was way ahead of her time, who defied social norms and wasn’t afraid to speak up against injustice. A woman who fiercely protected her loved ones and showed up for any person in need, no matter what she was going through. Your spirit is imprinted in Layla mommy, so for you I dedicate this award, my angel.”

Helmed by Egyptian filmmaker and Marvel’s “Moon Knight” director Mohamed Diab, Jammal stars alongside Egyptian actor Mohamed Ramadan in “Asad.”

Jammal, famous for her roles in the Netflix series “The Sandman” and “Paranormal,” is joined by Maged El-Kedwany, Khaled El-Sawy, Sherif Salama and Ahmed Abdelhamid in the film.

The action-romance is set in the 1800s, with 2,000 extras being drafted in for the production. It features large-scale action sequences led by renowned stunt designer Kaloyan Vodenicharov.

In a trailer shared by Jammal last year, snippets from the film showed its lead star being dragged along by a horse, as well as scenes of a budding romance involving Ramadan and Jammal’s characters.

Jammal made a bold statement earlier this month in a striking red gown from Carolina Herrera’s Spring 2026 collection by Wes Gordon at the Murex d’Or 2026 ceremony. The sleeveless design featured delicate spaghetti straps, a rounded neckline, and dramatic side cutouts. She completed the scarlet look with a red clutch and pointed-toe lace heels.

In June, she launched her own children’s book, titled “Lulu and Blu.” Published by Turning Point Books, the story was illustrated by Sasha Haddad, a Lebanese illustrator who graduated from Cambridge School of Arts in 2014.

Filmmaker Paul Greengrass is often associated with a cinematic aesthetic colloquially known as “shaky cam” — handheld cinematography enabled by lightweight digital cameras that function a lot like another character in the room, on foot, at eye-level, responding and reacting to action and dialogue the way a person would.

It’s a style that has served him well in modern action thrillers like his installments of the “Bourne” franchise, and films depicting recent real-world events like “Captain Phillips” and “The Lost Bus.” Now, Greengrass applies his signature style to the Middle Ages — can shaky cam work in a medieval movie?

It may seem odd, but it’s a brilliant creative choice when considering that while “The Uprising” is technically about the 1381 Peasants’ Revolt in England, that’s not really what it’s about. It’s about right now.

The shaky cam is intended to jolt us into that awareness. When we pick up with our protagonist, a pathetic ploughman (Andrew Garfield) living a grief-filled and wretched existence, a plague has wiped out half the population. A small group of men hoards wealth and resources, while the peasant class is heavily taxed, laws brutally enforced. As Greengrass lays out the bare facts of this situation with a cinematic style that’s more news documentary than stuffy period piece, the parallels to our own current situation are laid bare.

“The Uprising,” which Greengrass wrote and directed, is told in a fairly simple fashion, with an emphasis on visual storytelling and visceral sensation (the disparate English accents are also lost in the melee of the mob). All we need to know is that the council advising the 14-year-old King Richard II (Woody Norman) conspires while the young royal prays and his mother (Katherine Waterston) glowers. Outside, a bloodthirsty mob armed with farm tools marches on London, led in part by Garfield’s ploughman, who started his own local uprising when he fought back against the taxman. He joins forces with Wat Tyler (Cosmo Jarvis), a former soldier, and John Ball (Jamie Bell), a priest deemed heretic, as the crowd demands an audience with the king.

As the chaos unfolds, Greengrass doesn’t pontificate on the morality of these events and, in fact, maintains a rather neutral stance on them for most of the film, withholding judgment. A revolution is not right or wrong for most of “The Uprising.” It is simply inevitable under the conditions the film presents.

The ploughman wants to play by the rules, but it’s how the revolt plays out that radicalizes him. While Greengrass shows us the uprising in all its messy confusion as the logical outcome of oppression, by following our protagonist as he witnesses treachery and deceit, Greengrass ultimately arrives at the belief that revolution is necessary, even in failure, and that freedom is worth more than anything.

The opening and closing of “The Uprising” are bracing and stark in their storytelling — the middle is a bit mushy and confusing. But it’s the performances that carry us through. Garfield, sensitive and earthy, is our bellwether as the events descend into bloody carnage dictated by muddled agendas. When he turns, we turn, and the anguish that Garfield wordlessly conveys is our compass.

Greengrass surrounds Garfield with actors who deliver bigger performances, like Jarvis as the brutish but shrewd Tyler, and Bell as the fervent Ball. Thomasin McKenzie plays a young woman, Alyce, steeped in her own trauma and loss, who attaches herself to the ploughman, and her ability to express wide-eyed, barely contained hysteria and fear is unmatched. Young Norman is riveting as the increasingly dastardly king.

The Peasant’s Revolt of 1381 is a fascinating moment because it’s a time when the notion of democracy wasn’t even a twinkle in a feudal servant’s eye. The mob’s actions are frustrating because they’re religiously bound to the king, who they believe is an emissary of God, and desperate to change their day-to-day existence. When those two instincts collide, it’s bound to be complex and conflicting, and Greengrass delivers that with a boots-on-the-ground style.

The murkiness of it all clarifies by the end of the film, not just in terms of its heroes, villains and message, but Greengrass also situates this story within a recognizable cinematic and storytelling history. There’s a thrill as it all comes together. Greengrass might be taking a big swing (of the scythe), but his blade finds its target nevertheless.

Walsh is a Tribune News Service film critic.

A major travel change is set to impact British holidaymakers going to and from Europe as of today (7 September), and an expert has issued some crucial advice to avoid disruption

An expert has issued a warning to all Brits travelling to and from Europe as a significant change comes into force.

The European Union’s (EU) Entry/Exit System (EES) was rolled out across airports earlier this year, and, in a bid to reduce travel disruption, member states were permitted to relax some of its restrictions. EU countries such as France, Germany, Italy, Portugal and Spain were allowed to temporarily “lift biometric registration” until the end of summer to ensure there was “some relief for the worst-case scenario”, and temporarily switched off the EES when required.

Many European countries utilised the eased measures, particually during the summer holidays, as the EES requires all British passport holders to create a digital record and register their biometric details, such as fingerprints and a photograph, upon arrival in the Schengen area. However, as of today, Monday, 7 September, the ability to relax EES requirements is expected to have expired, with no formal announcement made of an extension.

With uncertainty building that it could prompt airport chaos if there is no further leeway given to Brits when travelling through the EU and the digital system, an expert has issued a warning about the impacts. Anton Radchenko, aviation expert and CEO of passenger-rights company AirAdvisor, explained: “The part of this most travellers have not clocked is that the risk runs both ways. Everyone worries about queues when arriving in Europe, but British passengers can also become trapped at exit control at a Spanish, Italian or other Schengen airport when trying to fly home.

“If a passenger misses an operating flight solely because of a passport-control queue, there is generally no automatic EU261 right to compensation or free rebooking. Airlines may help voluntarily, but passengers should not assume they will, and many insurance policies only cover specified causes such as public transport failure, so the exact wording needs to be checked.

“If the airline delays the flight because passengers are stuck in the queue, its normal care obligations still apply after the relevant waiting period. If it cancels, passengers remain entitled to a refund or rerouting, even though fixed compensation is unlikely where the border disruption was outside the airline’s control.”

Anton added: “My advice is to treat the return journey as seriously as the flight out. Follow the airport’s arrival-time guidance, go to passport control promptly, alert the airline before the gate closes if the queue becomes excessive and preserve time-stamped evidence showing where the delay occurred.”

There have been reports that some member states may still allow eased measures moving forward, although nothing has been officially announced. A European Commission spokesperson told the Guardian at the beginning of last week: “We are in close and constructive contact with those few member states where some adjustments are needed at certain border crossing points. And during an additional period of operational adjustment that is needed at these few operational border crossing points, the commission stands ready to provide additional support to these member states.”

Meanwhile, Ryanair has called on the EU Commission to “immediately” extend the EES flexibility until next year. Ryanair’s COO Neal McMahon said: “The EU’s handling of EES has been a shambles from start to finish. Airlines, airports and border authorities repeatedly warned Brussels that the rollout was not ready, that it would increase processing times and that it would create excessive queues for passengers. Those warnings were ignored, with EU citizens the ones delayed and disrupted.

“Passengers should not be made to pay the price for the EU’s failed EES rollout. Ryanair calls on the EU Commission to urgently extend the EES derogation until at least Apr 2027, so that airports and border authorities have the time needed to fix malfunctioning kiosks, increase staffing levels and ensure the system can operate efficiently before full enforcement is introduced and passengers are condemned to these excessive border control delays for another season.”

Do you have a travel story to share? Email webtravel@reachplc.com

Aug. 31 (UPI) — Finance ministers and other officials from the Group of 20 nations, as well as many CEOs, met Monday in Asheville, N.C., at a summit in which U.S. leaders intended to focus on growth and Iran — but also drew protests from other leaders for the inclusion of the Russian minister.

U.S. Treasury Secretary Scott Bessent told officials that the United States wants to focus on the mission of accelerating growth and said the countries need to work together

“The world is awash in debt, and the only way for us to get out of this is to grow our way out of this,” Bessent said, CNBC reported.

He also said a “durable” global economy” cannot rest on “beggar-thy-neighbor acts that stifle fair, market-based competition,” The New York Times said.

In introductory comments, U.S. Federal Reserve Chairman Kevin Warsh also focused on growth, saying the time is one of “secular growth.”

“If I were to try to characterize this moment, it would be one of a global investment surge,” he said.

Bessent said earlier Monday in a CNBC interview that the U.S. plan to pressure and isolate Iran through its economy can work without China, which opposes the sanctions. He is expected to ask the other finance ministers to join in those sanctions.

Russian Finance Minister Anton Siluanov was at the meeting — at the invitation of the Trump administration — for the first time since Russia’s invasion of Ukraine in 2022.

This drew protests from other European ministers, who have issued their own sanctions against Russia for that war. Finance Minister Lars Klingbeil told The Times that he scolded Siluanov over the war and said the European ministers demanded the Russian minister be left out of a traditional group photo. It was eventually taken without Siluanov.

“Receiving the Russian finance minister here sends a signal I find troubling,” he told reporters. “I would have preferred clear positioning from the U.S. side that he not be received like a regular guest.”

Ukraine’s finance minister was not present in person at the meeting.

In addition, European ministers protested that the United States did not invite representatives from South Africa, a G20 country, to the meeting. Trump administration officials also invited many U.S. business executives but denied requests to include business leaders from other G20 countries.