Saudi Arabian film between censorship and awakening

There was no Netflix and it only showed productions from United Arab Emirates broadcaster MBC Hollywood, for example. “It was tough,” says the marketing expert. There has been a public outage for cinemas and movies for 35 years in the conservatively ruled kingdom.

Now Athaer sits on a sofa in perhaps the best cinema Riyadh has to offer: small halls with 24 oversized seats, a serene lounge feel. A movie ticket costs around 37 francs, and you can also book a meal at the lounge for the equivalent of 111 francs, such as Wagyu beef steak. The green national flag stands in the entrance area.

Since the ban was lifted in 2018 and the country’s first cinema opened, movies have become a favorite pastime for many Saudi Arabians. The industry is full of government funds.

On Thursday, the Red Sea Film Festival, which includes nearly 130 films from 60 countries, will start in Jeddah on the Red Sea coast for the second time since its establishment. Guy Ritchie, who is the chairman of the jury, and star director Oliver Stone, as well as famous names from the region are expected to take part.

“We are in the process of putting ourselves on the map. “We haven’t gotten to that point yet,” says Adnan Badib, founder of production company Milimeter Films. But Badib says Crown Prince Mohammed bin Salman recognizes the signs of time. “He knows we’re ready for change.”

The de facto ruler ordered many social initiatives and lifted the ban on cinema. Now the country needs producers, directors and other talent from abroad to really push the industry forward.

The first cinemas in the East were established in the 1930s by foreign oil workers. Until the 1970s, movies were also shown in backyards, hotels, and football clubs. But after the 1979 attack on the Masjid al-Haram and the revolution in Iran, the leadership introduced conservative religious rules: cinemas—like many forms of entertainment that Islam strictly forbids—were abolished, men and women were publicly separated, and dress codes were introduced. introduced. Those who wanted to watch movies were visiting neighboring countries or buying pirated VHS tapes and DVDs.

There is no trace of this in the country today. Young people and families scurry in front of the cinemas, buy tickets for action and children’s movies, stock up on popcorn and colorful drinks. The Audiovisual Media Corporation estimates there will be 2,600 cinema screens nationwide by 2030 (currently there are about 500 screens in more than 50 cinemas).

The art called film is therefore by no means free. “After all, we are a Muslim society. We know where our red lines are,” says Badib, describing the industry’s self-censorship. Also, the authorities have to accept every movie.

According to reports, “Lightyear”, “West Side Story”, “Eternals” and “Dr. Strange 2” – apparently all because of LGBTQ-related scenes. Islamic scholars consider homosexual intercourse a sin.

Faisal Baltijur, who is the pioneer of the sector and holds a managerial position in the Muvi Cinemas chain, speaks words that would probably not have come to mind five years ago. For very religious people, going to the movies is also a “personal decision”. And of course they can advise their children not to go to the movies.

But in the times of cell phones and the internet, it’s impossible to ban kids from movies. “They hold them in their hands,” says Baltijur.

Sensitive political content is unthinkable in a country where even critical tweets can amount to a long prison sentence. Famed Saudi director Haifaa al-Mansur demonstrates that some sensitive issues can still be applied with cinematic precision. Her latest drama “The Perfect Candidate” revolves around the struggle for greater equality for women in the Arab world.

“An intelligent director or writer will convey the same message within the values ​​of the audience,” says director Faris Baitar. “The Chinese have censorship too, and their movies are great.”

Scenes that were actually forbidden would be shown there “very creatively” and with symbolism. “Smart filmmakers will come here, it’s a good investment,” Baitar says. “It’s a very young country. Here you have more freedom than ever before.”

(SDA)