In 2008, director Haifaa Al-Mansour filmed Wadjda in secret in Riyadh, navigating restrictions that make filmmaking in Saudi Arabia impossible. 

That began to change after theaters opened in 2018 under Saudi Vision 2030, positioning film as an economic driver and a cultural priority. By contrast, her most recent production, Unidentified, backed by the Saudi Film Commission and premiering at this year’s Toronto International Film Festival, reflects the kingdom’s support for filmmaking.

Recently, the kingdom announced $8.7 million in new film investments and rebranded its Saudi Film Fund as Riviera Content. Under this new banner, Riviera Content will back films at home and abroad, with a broader push to position Saudi Arabia as a regional film production hub.

And while those ambitions are growing, the country’s film industry is navigating its early challenges.

A YOUNG INDUSTRY THAT’S GROWING FAST

For producer and director Aymen Khoja, who started nearly 15 years ago when opportunities were limited to commercials and a handful of production houses, the landscape today is almost unrecognizable. “If you wanted to work in films, your options were commercials, talk shows, or short YouTube videos,” he recalls. “That’s how I started learning about cameras, lighting, and building content from scratch.”

Khoja went to Los Angeles to study filmmaking before eventually returning to the kingdom to make films. His credits include Il Signore, ranked among Netflix’s top ten titles, and Rupture, winner of Best Saudi Film at the 2021 Red Sea Film Festival. 

Today, the kingdom houses 65 production companies. “In just six years, the industry’s infrastructure has strengthened significantly – from permit processes to crew expertise and equipment,” Khoja says. He likens today’s industry to a theme park, where filmmakers now have the infrastructure and incentives to make top-class content.  

Through Film Saudi, for instance, local or international productions can access one of the world’s most attractive incentive programs, receiving up to 40% cash rebates. That momentum is turning toward what many view as the next frontier: a hunger for local content.

HUNGER FOR LOCAL CONTENT

As the global film industry undergoes major upheavals, Saudi Arabia is finding its footing within this shifting landscape. In the US and Europe, streaming has disrupted traditional box office models, forcing studios to rethink how films are made, distributed, and consumed.

Against this background, the kingdom is entering the game much later. “The challenges we face in Saudi Arabia are unlike those in Hollywood,” says director Hamzah Jamjoom. “We’re increasing production while others are scaling back. We’re diversifying our ecosystem while others focus narrowly on tech.”

That late entry, however, may be an advantage. Film director and cultural consultant with government sectors, Musab Alamri, highlights that revenue from the Saudi market now ranks among the top box office markets globally. “The appetite for films is undeniable, with some Egyptian movies even generating more revenue in Saudi Arabia than in their home market,” he says. 

The question now is whether the industry’s momentum can be sustained through bold, local storytelling. “There’s a rush toward cinema and film,” says Jamjoom. “While it’s starting to normalize, the challenge for filmmakers and producers now is to figure out what is sustainable.”

There’s a clear opportunity to create local content that resonates deeply with audiences while standing out in a rapidly evolving global industry.

DEVELOPING FILM ECOSYSTEM

Of the 504 films screened in Saudi cinemas last year, 17 were Saudi-made, indicating that, while local productions still make up a small share of the market, their presence is steadily expanding as the industry matures. 

Saudi productions are no longer fringe. “They now hold roughly 19-20% of the domestic box office, competing alongside Hollywood, Bollywood, and Egyptian cinema,” Khoja says. 

In the first half of this year alone, eight local productions have brought in $26.7 million, representing 19% of total ticket sales.

The Public Investment Fund recently acquired a 54% stake in MBC Group, reinforcing Saudi Arabia’s ambition to become a regional media and entertainment powerhouse. In just the first half of this year, more than 150 projects are in development, with 90% slated for production within the country, signaling a strong push toward expanding local content and production capacity. 

Saudi Arabia aims to draw international productions with state-of-the-art facilities, including NEOM Media Village’s Bajdah Desert Studios, AlHisn Big Time Studios, and JAX Film Studios (due to open soon).

Equipped with advanced soundstages, backlots, and post-production facilities, these facilities mark a new era of large-scale filmmaking in the kingdom. Meanwhile, AlUla has grown into one of the top filming destinations in the country’s northwest.

Film AlUla provides a dedicated base camp, location scouting, crew support, and cash rebates of up to 40% (rising to 50% when key roles are filled by Saudi nationals). Notable projects filmed there include Kandahar and Desert Warrior.

When asked why filmmakers are drawn to Saudi Arabia despite nearby cities like Abu Dhabi offering up to 50% rebates, experts point to the kingdom’s diversity. From the coastal city of Jeddah, the deserts of Tabuk, the historic heritage of Al Balad, and the modern cityscapes of Riyadh, Saudi Arabia offers a range of fresh locations that appeal to international productions.

AN INDUSTRY IN TRANSITION

Jamjoom says that while Saudi Arabia offers unprecedented support—from funding to international exposure—for its filmmakers, the ecosystem is still taking shape. Much is still being figured out legally and structurally, including questions about script rights, revenue sharing, and distribution agreements with local and international partners. 

“You can’t build reliable data on a three-year-old industry. It takes at least a decade to understand audience habits. So right now, the real test is who can hold their breath the longest while the system finds its footing,” adds Jamjoom. 

Experts note another significant challenge is the limited pool of skilled technical crew and the time required to develop a strong local talent base. 

The industry continues to depend heavily on key roles such as coordinators, gaffers, production designers, and directors of photography brought in from abroad, whether from Hollywood or neighboring countries like Jordan and Egypt.

Through the Ministry of Culture, film education and training programs are being integrated into arts curricula, with scholarships sending Saudi students to countries like the US and Japan for hands-on experience. While the foundation is being laid, it will “take time for the infrastructure and local expertise to mature,” Jamjoom adds.