For over three decades, Saudi Arabia existed without a public cinema culture, a consequence of a 35-year ban instituted in the early 1980s. However, in April 2018, this cultural landscape shifted dramatically when the ban was lifted as part of Crown Prince Mohammed bin Salman’s Vision 2030 initiative—a sweeping plan to diversify the Saudi economy and modernize its society. This marked a turning point for Saudi Arabian cinema, ushering in an era of rapid growth, international collaboration, and newfound creative expression. At the forefront of this transformation is the Red Sea International Film Festival, a beacon of the kingdom’s cinematic ambitions, though not without its share of challenges. This article explores the evolution of Saudi cinema since 2018, the pivotal role of film festivals, and the obstacles that accompany this cultural renaissance.
The Lifting of the Cinema Ban: A Cultural Milestone
The decision to lift the cinema ban in 2018 was both symbolic and pragmatic. Cinemas had been absent from public life since the 1980s. During this period, film enthusiasts were limited to home viewings, foreign travel, or clandestine screenings organized by a small underground community. The reopening of cinemas began with a historic screening of Black Panther on April 18, 2018, in a 620-seat AMC theater in Riyadh’s King Abdullah Financial District—a venue originally designed as a symphony hall. This event was more than just a movie night; it signaled a broader cultural thaw under Vision 2030, which seeks to reduce the kingdom’s reliance on oil by fostering entertainment, tourism, and the arts.
The government wasted no time capitalizing on this shift. By 2030, Saudi Arabia aims to build over 300 theaters with more than 2,000 screens, catering to a population of nearly 40 million. By April 2024, 66 cinemas had already sprung up across 22 cities, screening a mix of Hollywood blockbusters, Bollywood hits, and emerging local productions. This infrastructure boom reflects a pent-up demand for cinema, with box office projections estimating revenues could reach $950 million annually by the decade’s end. For a nation where public entertainment was once scarce, this rapid expansion is nothing short of revolutionary.
The Birth of a Film Industry
The lifting of the ban did not merely open theater doors—it ignited a nascent film industry. Before 2018, Saudi filmmakers operated in a vacuum, lacking funding, formal training, or distribution channels. Pioneers like Haifaa al-Mansour, who directed Wadjda (2012)—the first feature film shot entirely in Saudi Arabia—had to navigate these constraints, often filming discreetly to avoid scrutiny. Wadjda, a story of a young girl’s defiance against societal norms, became a global symbol of Saudi cinema’s potential, earning critical acclaim and marking the kingdom’s first Oscar submission for Best Foreign Language Film.
Post-2018, the landscape has transformed. The government, through the Ministry of Culture and entities like the General Entertainment Authority, has poured resources into nurturing local talent. Grants, training programs, and production incentives have empowered a new generation of filmmakers. Companies like Telfaz11, which began as a YouTube channel in 2011, have evolved into trailblazers, producing films like Mandoob (2023), a dark comedy about a delivery driver turned bootlegger, and Naga (2023), a thriller about a young woman’s desert misadventure. Both films premiered at the Toronto International Film Festival, showcasing Saudi stories on a global stage. Meanwhile, MBC Studios, backed by the Saudi-owned MBC Group, has tackled ambitious projects like Desert Warrior, an action epic filmed in the futuristic Neom region.
This surge in production reflects a broader cultural shift. Saudi cinema is no longer just an art form—it’s becoming an industry with economic potential. Yet, it’s also a medium for storytelling that resonates with a young, dynamic population eager to see their lives reflected on screen. Films are beginning to explore themes of identity, family, and modernity, often with a boldness that tests the boundaries of a still-conservative society.
The Red Sea International Film Festival: A Cultural Catalyst
Central to this cinematic awakening is the Red Sea International Film Festival (RSIFF), launched in 2019 in Jeddah’s historic Al-Balad district, a UNESCO World Heritage site. Originally slated for March 2020, the festival was delayed by the COVID-19 pandemic but debuted in December 2021 with Joe Wright’s Cyrano. Since then, it has grown into the Middle East’s fastest-rising film event, attracting global stars like Will Smith, Spike Lee, and Viola Davis, alongside regional talent. The 2024 edition, held from December 5-14, featured over 120 films from 81 countries, cementing its status as a bridge between Saudi cinema and the world.
The RSIFF is more than a glitzy showcase—it’s a strategic platform for fostering a film ecosystem. Organized by the Red Sea Film Festival Foundation, a non-profit backed by the Ministry of Culture, it offers grants through the Red Sea Fund, supporting Arab and African filmmakers. Success stories include Four Daughters (2023), a Tunisian documentary that earned an Oscar nomination, and Norah (2024), the first Saudi film to screen at Cannes. The festival’s sections—such as the Red Sea Competition, New Saudi Cinema, and Arab Spectacular—highlight both local innovation and international collaboration, while workshops and the Red Sea Souk market connect filmmakers with industry professionals.
For Saudi filmmakers, the RSIFF provides unprecedented visibility. Roula Dakheelallah, star of My Driver and I—a film delayed by the pre-2018 ban—won the Chopard Emerging Saudi Talent award in 2024, embodying the festival’s role in nurturing new voices. “My heart is attached to cinema and art,” she told the Associated Press, reflecting the passion driving this movement.
Challenges Facing Saudi Cinema and the RSIFF
Despite its meteoric rise, Saudi cinema faces significant hurdles. One is the tension between producing freedom and cultural norms. Filmmakers must navigate a delicate balance, addressing contemporary issues without crossing red lines enforced by authorities or the state.
Expertise and infrastructure also lag behind ambition. Before 2018, Saudi Arabia had no formal film schools or seasoned crews, leaving the industry reliant on foreign talent and ad hoc training. While facilities like Al Hisn Studios near Riyadh—opened in 2024 with cutting-edge production capabilities—signal progress, building a skilled workforce takes time. Industry observers note that investment, while substantial, is unevenly distributed, with big-budget projects often overshadowing smaller, experimental works.
The RSIFF itself grapples with its dual identity as a cultural event and a soft-power tool. Critics argue it’s part of a broader “sportswashing” and “artwashing” strategy, masking Saudi Arabia’s human rights record—marked by tight speech controls and high execution rates—with entertainment spectacle. The 2034 FIFA World Cup award has intensified such scrutiny, with activists like Lina al-Hathloul of ALQST accusing the kingdom of building an “entertainment bubble” to distract from on-the-ground realities. High-profile attendees, reportedly paid millions to appear, fuel this narrative, raising questions about authenticity versus optics.
Audience development is another challenge. While Saudi youth are eager for cinema, building a culture of film appreciation beyond blockbusters requires curation and education. The opening of Riyadh’s first arthouse cinema in 2024 by Faisal Baltyuor hints at this potential, but mainstream tastes still dominate. The RSIFF’s emphasis on diverse programming aims to bridge this gap, yet it must compete with the allure of Hollywood and regional commercial giants like Egypt’s film industry.
The Road Ahead
Saudi Arabian cinema stands at a crossroads. Since 2018, it has evolved from a suppressed art form into a burgeoning industry, propelled by state support, local talent, and events like the RSIFF. The kingdom’s investment in theaters, studios, and festivals reflects a commitment to cultural and economic transformation, aligning with Vision 2030’s goals. Films like Mandoob, Naga, and Norah demonstrate a creative vitality that’s earning global recognition, while the RSIFF amplifies these voices, fostering a dialogue between Saudi Arabia and the world.
Yet, the journey is far from complete. Overcoming censorship, building expertise, and cultivating a discerning audience will test the industry’s resilience. The RSIFF, too, must navigate its role as both a cinematic haven and a political lightning rod. As Saudi cinema matures, its success will hinge on its ability to tell authentic stories that resonate at home and abroad—stories that reflect a society in flux, eager to redefine itself on its own terms. In this new era, the silver screen is not just a mirror but a canvas, painting a future where art and ambition intertwine.