JEDDAH, Saudi Arabia — The film “My Driver and I” was initially slated for production back in 2016, but plans for its release were thwarted by Saudi Arabia’s long-standing prohibition on cinemas. Fast forward eight years, and the film industry landscape has undergone significant transformation, with the lead actress of the film now receiving recognition for her talent.
Roula Dakheelallah received the Chopard Emerging Saudi Talent award at the Red Sea International Film Festival on Thursday, showcasing the kingdom’s serious efforts in developing a robust film industry. “Cinema and art have always held a special place in my heart; this moment has been a long-held dream for me,” expressed Dakheelallah, who continues to work a nine-to-five job alongside her budding film career. “While I used to contribute to smaller projects and assist my friends, this marks my first major role.”
The reopening of cinemas in 2018 was a pivotal moment for Saudi culture, breaking a 35-year ban imposed by the government influenced by conservative religious authorities. In recent years, significant investments have been directed toward establishing a national film industry, including the construction of new theaters and the implementation of programs to support local filmmakers with grants and training opportunities.
Shortly after the cinema reopening, the Red Sea International Film Festival was established as part of a larger initiative to broaden the kingdom’s influence in the realms of film, gaming, sports, and other cultural sectors. However, critics have condemned these investments as attempts to gloss over Saudi Arabia’s controversial human rights record, noting that free speech is heavily regulated and the country remains infamous for high execution rates. Following FIFA’s decision to award the 2034 World Cup to Saudi Arabia, rights activist Lina al-Hathloul voiced concerns about a “bubble” created by Crown Prince Mohammad bin Salman, which obscures the underlying issues facing the nation.
As part of its Vision 2030 reform agenda introduced in 2016 to decrease the economy’s reliance on oil, Saudi Arabia aims to build 350 cinemas featuring over 2,500 screens. As of this past April, there were already 66 cinemas operating across 22 cities, screening both local films and international productions from Hollywood and Bollywood. The Red Sea International Film Festival also attracted notable stars from these industries, including Viola Davis and Priyanka Chopra Jonas, who received awards at the event.
In a notable development, the General Entertainment Authority opened Al Hisn Studios on the outskirts of Riyadh last month. As one of the largest production facilities in the Middle East, it includes multiple film studios and a creative village offering workshops in various crafts such as carpentry and fashion design. “Having such facilities will invariably motivate filmmakers,” stated Saudi actor Mohammed Elshehri. “At this point, no creative has a valid excuse to say, ‘I can’t bring my vision to life.’”
While infrastructure advancements are crucial, content creation is equally important. Telfaz11, a media company founded in 2011, has emerged as a key player in evolving Saudi cinema, beginning as a YouTube channel and transforming into a powerhouse for high-quality digital content. Telfaz11 has helped to provide fresh narratives and perspectives on regional issues through various formats, including short films and series.
In 2020, the company partnered with Netflix to produce original content, resulting in films that address previously taboo subjects such as nightlife in “Mandoob” (“Night Courier”) and evolving societal norms in “Naga.” “We share our stories in a straightforward manner, and that is what resonates globally,” Elshehri elaborated on the importance of authentic storytelling.
However, these films have faced criticism, sparking varied reactions on social media. Some celebrate the progressive themes, while others express dissatisfaction with how these narratives portray Saudi society.
Hana Al-Omair, a Saudi writer and director, highlights the vast array of stories that remain untold. “We still have a long way to go before we can fully articulate the Saudi narrative,” she remarked, acknowledging that numerous barriers and ongoing censorship persist. For instance, “The Goat Life,” a Malayalam-language film exploring the plight of an Indian worker in Saudi Arabia, is not available on Netflix in the country, and films that delve into political or LGBTQ+ themes are essentially banned.
Despite initial controversies, “My Driver and I,” now shown at the Red Sea festival alongside 11 other Saudi feature films, has successfully reached audiences. The film tells the story of a Sudanese man in Jeddah who feels a sense of responsibility for the girl he drives due to her parents’ absence—a relationship that was subject to scrutiny and initially halted production.
In 2024, “My Driver and I” emerges as a testament to the evolution of the Saudi film industry, highlighting the increasing prominence of women like filmmaker Ahd Kamel and actress Dakheelallah. “The transformation in Saudi cinema is occurring at a beautiful pace, and we don’t need to rush,” Dakheelallah concluded. “It is essential that we stay true to the artistic movement that is developing in Saudi Arabia.”
