Saudi Arabia’s Film Ambitions: From Shorts to Strategy

When the Saudi Cultural Development Fund (CDF)  hosted a high-profile roundtable and networking lunch at the 78th Cannes Film Festival, it brought together global industry leaders, studio executives, filmmakers, producers, and financiers under the banner of “Shaping the Future of the Film Industry.”

Quite a shift from how Saudi Arabia was once seen at Cannes: a handful of short films, a pavilion or two, and the occasional informal red carpet appearance. For a long time, there was no presence at all. The turning point came in 2018, when nine Saudi shorts were screened just months after cinemas reopened following a 35-year ban. Since then, Saudi participation has grown more deliberate, culminating in the 2024 selection of Norah  — the first Saudi feature to compete in Cannes’ official programme under Un Certain Regard. Directed by Tawfik Alzaidi and starring Maria Bahrawi, the quiet 1990s-set drama offered a cinematic voice that was both distinctly local and globally resonant.

The shift is not merely about visibility — it is institutional. The Saudi Film Commission, the Cultural Development Fund, and initiatives like the newly launched $100 million Saudi Film Fund — a dedicated financing vehicle supporting domestic and international productions — have begun building an industry from the ground up. This includes co-financing schemes, studio infrastructure, and global partnerships. For a country that, until recently, lacked even basic film schools or technical training, the change is less a leap than a calculated build. When Saudi Arabia returned to Cannes this year, it wasn’t just for show — it arrived with capital, a strategy, and the unmistakable intent to stay.

That intent was made clear through the presence of the Cultural Development Fund. This wasn’t about mingling with global cinema elites — it was a signal that Saudi Arabia is building a films industry meant to stand on its own.

With $234 million already invested in the cultural sector and the CDF’s 40% stake in the new Saudi Film Fund, the numbers speak for themselves. But more telling is the direction. Saudi Arabia is not simply funding films — it is putting in place the infrastructure that filmmakers, producers, and studios can actually rely on.

For years, making films in Saudi Arabia meant navigating an uncertain patchwork of grants, informal networks, and limited access to funding. That is changing fast. A new financing framework has been introduced to cut bureaucracy, reduce application times by up to 60%, and offer rebates and co-financing options across all types of productions — from independent features to international blockbusters.

“It’s the crucial first step in establishing a thriving film foundation in the country,” says Saudi actor Aziz Ghrabawi speaking to Saudi Times. “With proper infrastructure in place — such as state-of-the-art studios and efficient logistical operations — the path is paved for an industry to grow and flourish.”

His comments echo a growing sentiment among local creatives who see these investments not as symbolic gestures, but as the scaffolding needed to build a viable, lasting ecosystem.

But as the industry gains momentum, it is also stirring debate. While many young Saudis are eager to see local stories gain international recognition, some segments of society remain cautious — questioning how much creative freedom will truly be allowed within a system shaped by government priorities. For filmmakers, the opportunity to tell Saudi stories comes with both promise and constraint: navigating the line between innovation and cultural sensitivity in a society still undergoing rapid transformation.

The shift mirrors broader economic goals. As the country seeks to diversify beyond oil, sectors like media, tourism, and entertainment have taken on new importance. The target is clear: raise the creative industries’ contribution to GDP from under 1% today to 3% by 2030.

And there is a local appetite. According to the Saudi Film Commission, more than 140 domestic film projects have received support since 2021. Saudis are training as scriptwriters, editors, camera operators, and post-production specialists — roles that scarcely existed in any formal sense a decade ago.

Of course, Saudi Arabia is not the first in the region to pursue cinematic ambition. Jordan has long attracted major productions to Wadi Rum, with films like The Martian and Dune taking advantage of its dramatic landscapes. The UAE has built professional-grade facilities and offers generous rebates through its twofour54 media zone.

But Saudi Arabia brings something different: scale, a young population, and a massive untapped market. More importantly, it brings stories. As the country undergoes rapid social change, there is an urgent need for platforms that can reflect that transformation. Film, at its best, doesn’t just entertain — it helps a society talk to itself. And for a country that spent decades with cinemas closed and public storytelling stifled, the reopening of this space feels like more than symbolism.

Still, questions remain. Can a top-down approach foster authentic creative expression? Will investment alone be enough to encourage risk-taking, nuance, and storytelling that resonates both locally and globally? These are open questions. But it is difficult to deny the momentum.

Compared to Egypt — where a storied cinematic tradition now struggles with outdated infrastructure and financial constraints — or Lebanon, where politics routinely disrupt production, Saudi Arabia’s methodical, funding-first approach feels surprisingly pragmatic.

“There’s potential to make a significant impact on the global stage,” says Ghrabawi, pointing to the country’s growing technical capacity. But for filmmakers who spent years working in the shadows or abroad — like Haifaa Al-Mansour, whose early work was shot from inside a van to avoid public scrutiny — the real breakthrough may not come from international acclaim.

It may simply be the freedom to film at home.

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