Prey

Saudi Cinema: Its Success Lies in Telling Our Story

The success of cinema is not measured by the scale of production, nor by advanced visual effects, nor by the names of stars, but by what remains in the viewer's memory, and especially a story that touches their reality. Therefore, the true path to the success of Saudi cinema does not begin by imitating others, but by telling our own stories.

Italian cinema after World War II changed the face of the seventh art with simple films shot among people and on the streets. They were so honest that they became a global cinematic school. Likewise, Korean cinema built its success on local stories, but they are human enough for the whole world to feel. These experiences confirm that the more local a work is, the more capable it is of reaching a global audience. The world is not looking for an additional copy of Hollywood, but for a new voice, a different perspective, and a culture to get to know.

Today, Saudi cinema has a historic opportunity. Local audiences are flocking to theaters, infrastructure is developing, investment in the sector is increasing, and young talents are proving their presence year after year. Yet the question is: what stories do we want Saudi cinema to capture? We want to tell our own stories. We want Saudi cinema to be a product of its environment, to emerge from the neighborhood, the village, the city, the desert, the sea, and from the details of the Saudi family, its diverse dialects, customs, joys, and rich folklore.

At the same time, we should not fear experimentation. Short films, independent films, animation, and documentaries are all laboratories that create the directors, writers, and cinematographers who will lead the industry in the future. Experimentation is the natural path to discovering new styles and different narratives.

But the success of cinema does not depend on creators alone; it needs an integrated system. This is where the important role of the Ministry of Culture comes in, not just as a supporting entity, but as a partner in building a sustainable national industry. This can be done by expanding funds for financing Saudi films, supporting independent production, and encouraging audiences to watch local films through ticket subsidy programs, giving producers an opportunity to recover costs and continue production.

Also, cinemas are a key partner in this system. It is important for Saudi films to have a consistent presence on screens, by allocating a percentage of screenings to local works, ensuring they reach the audience and do not quickly retreat in the face of commercial competition from foreign productions.

The most important element, however, is human capital. The industry is not built by cameras alone, but by skilled professionals. We need academic and professional programs led by institutions such as the Riyadh University of the Arts to develop capabilities in screenwriting, directing, acting, cinematography, editing, sound, production, location management, film marketing, distribution, and all other professions that underpin filmmaking.

The future of Saudi cinema does not lie in making films that resemble others, but in films that no one else can make. Films that carry the scent of Saudi coffee, the dialects of cities and villages, the stories of ordinary people, the dreams of youth, and the memory of place. When cinema becomes a mirror of its society, it becomes capable of addressing the entire world.