Last chance: Outdoor cinema VOX Moonlight is closing for the summer
Located on the rooftop of the Galleria Mall, Al Wasl Road, this open-air cinema experience is closing on Monday, May 5, which means you can enjoy all those movies under the cover of the stars, one last time. The green tones and the foliage make for a rooftop garden feel against the backdrop of the city.
Discover again…
What's special about this cinema is that you're spoilt for choice. Choose from the private cabanas – perfect for couples for that ultra-luxe vibe, or comfortable loungers – another equally great option for pairs. To be more relaxed, the bean bags with footrests are the choice.
There is of course, also a stellar food and beverage menu, specially curated by the in-house chefs. This expansive menu features everything, from premium mocktails to sushi, burgers, and hotdogs, as well as all your favourite cinema snacks, which you can order from the comfort of your seat.
On the technology side, the spot is equipped with the best visual technology and Dolby 7.1 Surround audio for the most hair-raising, immersive, big-screen experience.
We're going to the movies
VOX Moonlight is open from Monday to Sunday. Tickets are available for sale on the website right n0w. For more information or to book tickets visit voxcinemas.com or the VOX Cinemas App.
Head over to catch the biggest and best of Hollywood, Bollywood and Arabic movies. On the weekends, the cinema will have the first showing of animated and children's movies with a bonus family offering for two adults and two children (one private cabana and two bean bags).
VOX Moonlight, Galleria Mall, Dubai, open now, @voxcinemas
Images: Supplied
> Sign up for FREE to get exclusive updates that you are interested in
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Khaleej Times
3 hours ago
- Khaleej Times
Ashutosh Rana on becoming Raavan: The 'Humare Ram' star brings epic theatre to Dubai Opera
Long before streaming platforms began testing our nerves in unimaginable ways, Ashutosh Rana was already haunting the nation's collective imagination with some of Bollywood's most chilling performances — first as the menacing Gokul Pandit in Dushman (1998), then as the unhinged Lajja Shankar Pandey in Sangharsh (1999). These roles, over time, have cemented the actor's place as Hindi cinema's most unforgettable villain — an actor who could turn darkness into art. Now, over two decades later, he's stepping back into the realm of an epic, but this time, under the unforgiving spotlight of live theatre. During August 14–17, Rana will take the Dubai Opera stage in Humare Ram, playing Raavan in a production that has already completed over 200 shows in India. In a role that demands both ferocity and nuance — qualities that have defined much of his career — the actor is eager to bring forth a whole new side to this complex figure, often touted as the ultimate antagonist. In a conversation with City Times, Rana speaks about why Dubai was the obvious choice for the play's first international outing, his deeply personal interpretation of Raavan, the research that shaped his performance, and why, after years in cinema, the stage still holds a kind of magic that screen work cannot match. Edited excerpts from an interview, with parts translated from Hindi. You're bringing Humare Ram to Dubai for the first time. After over 200 shows in India, what made you decide this was the right time and place to take the production international, and why begin with Dubai? Ashutosh Rana: After 200 shows in India and such a warm reception from audiences, we felt it was time to take Humare Ram beyond our borders. The question was, where do we start? The world is huge: America, England, Europe, Australia. Dubai felt like the perfect choice because it's like a pocket-sized version of the world. People from every corner of the globe live there. Geographically it may be small, but in terms of diversity, it's vast. Our thinking was simple: if the play is well received in Dubai, we'll feel confident taking it to the rest of the world. And if it isn't, we'll refine it and try again there first. Dubai has a big, art-loving audience that is hungry for these kinds of experiences. Humare Ram is based on Valmiki's Ramayana, which is a timeless epic that can uplift human life, raise our standards of living, and shape the way we think. In Humare Ram, you play Raavan — a figure remembered as the great adversary in the Ramayana. What's your interpretation of him, and what drew you to this role? Ashutosh Rana: My personal belief is that you should make friends even with your greatest enemy. Your enemy should be bigger and better than you, because while friends elevate you, enemies can elevate you even more. The world often judges you by your friends, but the size of your enemy also reveals your own stature. And an 'enemy' doesn't have to be a person. It could be a challenge, a situation, a task, your ambitions, your life's aim. But it should be bigger than your present capacity. That's how you grow. For Ram, Raavan was powerful. For Raavan, Ram was powerful. Both elevated each other. Whether in friendship or enmity, there should always be grace. We often fail to remain graceful even with friends, so being graceful with an enemy is a huge task. Before performing as Raavan, I had already written my novel Ram Rajya in 2020, which was awarded and well appreciated. So I had prepared myself mentally, thinking deeply about how I perceive Raavan and his place in Ram's story. Because without Raavan, the Ram we know today would not exist. Ram became extraordinary by overcoming extraordinary challenges, and that is why, though human, he is remembered today as Narayan (the eternal man). Raavan has been portrayed countless times on stage and screen. How did you approach the role to break away from the usual stereotypes? Ashutosh Rana: I see Raavan in a completely different way. I believe that when you come into contact with an elevated person, they do not make you feel small. If Ram is elevated, then anyone connected to him — friend or foe — must also have grace, gratitude, and calibre. In Humare Ram, you won't find the stereotypical Raavan that people expect. Stereotypes happen when we perform the same image over and over. But if a story has lasted for centuries, there must be deeper layers to it. Creativity forces you to look beyond the obvious and reveal those unseen aspects. The Ramayana has been told in many ways. What kind of research and preparation went into playing Raavan for this production? Ashutosh Rana: Of course. There are at least 300 versions of the Ramayana. Valmiki wrote the first, but then there's Ramcharitmanas, the spiritual Ramayanas, the Kamban Ramayana, and many more. Each one brings a new perspective. I immersed myself in the text and interpretations, but I also brought my own way of seeing him. I often say — when you touch a live wire, you feel the current. If you don't, it isn't truly live. In the same way, when you come into contact with a great person, story, or idea, you should feel its energy lifting you. If it doesn't, then you haven't truly connected with it. For me, it's about energy and aura. When your energy aligns with something, it elevates you. That's why I believe a story like the Ramayana can never be reduced to stereotypes. Its endurance as a timeless tale after all these years means there's always something more to uncover. After years of acclaimed work in cinema, why did you choose to return to live theatre now? Ashutosh Rana: This is a huge play, with over 127 people in the cast and crew. Felicity Theatre has taken a very big, courageous step in producing it. As an actor, I wanted my return to the stage to be with the character of Raavan in a production of this scale and vision. Live theatre gives you something films rarely do: the ability to communicate and connect with the audience at the same time. In life, you will meet people you can communicate with but not connect to, and people you can connect to but not communicate with. Both together are rare. On stage, both of those things happen, and it's magical. That satisfaction is unique to live performance. We're seeing more Indian theatre productions travel internationally now — something that perhaps should have happened years ago. Do you think platforms such as NMACC have helped open the doors for large-scale Indian productions to reach global audiences? Ashutosh Rana: There are many reasons, and yes, platforms like NMACC have created momentum, but in our case, we don't have a big sponsor or organiser behind us. Our creativity is our sponsor. The strength of our subject is our validation. Humare Ram has shown that theatre can be an industry in its own right. In the West, this scale of theatre is common, but in India it has been rare. That's starting to change now. Producing something this large is always a risk. It takes vision, money, energy, and people. But when the vision is strong enough, it's worth it. For me, this story was the perfect one to take that leap with. Theatre demands a kind of audience commitment that's hard to nurture in today's fast-paced, short-form entertainment era. Do you see Humare Ram as part of bringing that culture back? Ashutosh Rana: Absolutely. Theatre is like a school of art, it needs your time, your attention, your full presence. Today, with shrinking attention spans, it can be hard to get that. But Humare Ram has shown that meaningful, large-scale theatre still has a place, even in the age of instant entertainment. When something like this succeeds, it gives theatre the kind of recognition usually reserved for films. And that's not just important, it's necessary for art to grow. Finally, what are your expectations from the Dubai audience, and how do you hope to connect with them over your upcoming performances? Ashutosh Rana: I'm full of excitement. Dubai Opera is a world-class facility, and the audience is waiting for art that touches the heart and soul. I know there are passionate art lovers in Dubai who are hungry for work like this. Humare Ram is food for the soul. I am sure we will have a fantastic time, and I'm looking forward to the energy, the connection, and the reception we will get across these shows.
Broadcast Pro
7 hours ago
- Broadcast Pro
KSGAAL plans next phase of Arabic children's series
This cultural initiative aims to strengthen children's connection to the Arabic language through engaging and innovative content. The King Salman Global Academy for Arabic Language (KSGAAL) has hosted a panel discussion on the second phase of its Arabic children's series, a cultural initiative aimed at deepening young readers' engagement with the Arabic language. The event brought together authors, editors, illustrators and language enthusiasts to exchange ideas on advancing the project's educational and creative impact. KSGAAL Secretary-General Dr Abdullah Al-Washmi emphasised that the series seeks to strengthen children's connection to their language, enrich both linguistic and cultural content, and align with modern educational and visual storytelling trends. Reviewing the first phase, participants assessed its achievements and challenges, while proposing strategies to improve linguistic quality and educational value in the next stage. Key recommendations included focusing on reinforcing children's identity and pride in Arabic, expanding the target audience to younger children aged four–six with rhythmic, engaging content and to teenagers aged 13–15 with stories combining adventure and knowledge. The panel also urged a broader range of topics, from science, technology and history to arts and science fiction, all presented within interactive and immersive narratives. To enhance engagement, participants suggested developing digital formats with augmented reality features and integrating artificial intelligence to tailor reading experiences to individual interests. They also called for partnerships with schools, libraries and cultural centres, alongside adapting select stories into visual productions or theatrical performances. The discussion underscored KSGAAL's commitment to evolving the series into a dynamic, culturally resonant resource that not only entertains but also fosters a lasting appreciation for the Arabic language among new generations.
Khaleej Times
8 hours ago
- Khaleej Times
Renowned Egyptian novelist Sonallah Ibrahim dies at 88
Egyptian novelist Sonallah Ibrahim, famed for his critiques of political repression, neoliberalism and Western hegemony, has died at the age of 88, the culture ministry announced on Wednesday. Ibrahim "passed away today, leaving behind an immortal literary and humanitarian legacy," Culture Minister Ahmed Fouad Hanno said in a tribute, calling the writer a "pillar of modern Arabic literature". Born in Cairo in 1937, Ibrahim was famed around the Arab world as a chronicler of social injustice, known for his sparse, documentary-style prose and his fierce independence. His writings — which blurred the line between the personal and the political — captured the struggles of the Arab world in the postcolonial era, particularly those of his native Egypt. Arguably his most famous novel, "Zaat" (1992), tells the story of Egypt's modern history — from the overthrow of the monarchy in 1952 to the neoliberalism of the 1990s under president Hosni Mubarak -- through the eyes of an ordinary, middle-class woman. It was adapted into a prime-time television series in 2013, bringing Ibrahim's scathing portrayal of power to a new generation of Egyptians in the aftermath of the Arab Spring uprising that ousted Mubarak. A dissident through and through, Ibrahim was first jailed for his leftist politics in 1959, under then president Gamal Abdel Nasser. His five years in prison would form the basis for his debut 1966 novel, "That Smell", which was initially banned. Ibrahim's renown later saw many of his works translated into English and French. In 2003, he refused to accept a prestigious literary prize from the Mubarak government charging that it "oppresses our people, protects corruption and allows the Israeli ambassador to remain while Israel kills and rapes". The last was a reference to alleged Israeli abuses in the occupied territories during the second Palestinian intifada or uprising. Among Ibrahim's most celebrated works are "The Committee" (1981), a Kafkaesque allegory of bureaucracy and surveillance, and "Stealth" (2007), a semi-autobiographical account of his childhood during World War II. Generations of Arab writers found inspiration in his minimalist style, heavy with irony and rooted in everyday life.
