Incentives for filming in Saudi Arabia announced at Cannes

1 / 4
More details will be shared on the General Culture Authority's website within the next few weeks, including the criteria, guidelines for application and other issues. (Ammar Abd Rabbo / Arab News)
2 / 4
Ahmad Al-Maziad, CEO of General Culture Authority of Saudi Arabia, announced a rebate program of a minimum of 35 per cent for foreign productions filming in Saudi Arabia. (Ammar Abd Rabbo / Arab News)
3 / 4
Faisal Baltyuor, left, CEO of the Saudi Film Council, and Ahmad Al-Maziad, CEO of the General Culture Authority, at a press conference in Cannes announced that Saudi Arabia is “open for business” to the global film industry with a number of initiatives. (Ammar Abd Rabbo / Arab News)
4 / 4
More details will be shared on the General Culture Authority's website within the next few weeks, including the criteria, guidelines for application and other issues. (Ammar Abd Rabbo / Arab News)
Updated 12 May 2018
Follow

Incentives for filming in Saudi Arabia announced at Cannes

  • General Culture Authority will be “funding 50 per cent of all money spent on Saudi talent”
  • Details on partners and content guidelines will be announced in the coming weeks

CANNES: At a special VIP breakfast on the sidelines of the 71st Cannes Film Festival on Friday, Ahmad Al-Maziad, CEO of the General Culture Authority, announced that Saudi Arabia is “open for business” to the global film industry, with a number of initiatives to promote locations and develop talent, from funding to scholarships.

Al-Maziad announced a rebate program of at least 35 per cent for foreign productions filming in Saudi Arabia. “We’re developing guidelines on how to get even higher than 35 per cent. That will be for all spend used and consumed in Saudi Arabia,” said Maziad at a press conference held at the Carlton Hotel.

In addition, Maziad announced that the General Culture Authority will be “funding 50 per cent of all money spent on Saudi talent.” This offer, which will apply to Saudis employed on productions in the Kingdom, will also be offered as a rebate, and is designed to incentivize using local crews, which will help develop Saudi Arabia’s domestic talent pool.

“We believe the combination of the two make us the most attractive incentive program in the world,” said Maziad. “This extends from film to documentaries, animation, scripted programs and much more. Putting a handsome rebate on local talent is about developing the local talent in Saudi. We believe that the more local talent used with global film crews will help them develop faster. We’re welcoming the best in the world to come shoot in Saudi, which will expedite the use of local talent beyond what we have today.”

According to Maziad, the rebate program will drive greater visibility of the country as Saudi Arabian locations are featured in films and TV programs, which will in turn further attract international productions and impact the country’s developing tourism sector.

“As in-country spend grows, it is expected to have a follow-on effect on industry infrastructure development such as studios and service providers, including hotels and accommodation, catering, transportation and other support services,” the General Culture Authority said in a statement.

Maziad promised that more details will be shared on the General Culture Authority’s website within the next few weeks, including the criteria, guidelines for application and other issues. It will also develop training programs, in conjunction with the University of Southern California, the Studio School and Film Independent in the United States, and La Femis and Les Gobelins in France.

In 2018, trainings and multi-week summer camps will take place in Saudi Arabia, Los Angeles and Paris through these education partners, covering the full spectrum of skills required for film production, including directing, editing, screenwriting, sound design, VR/AR and 2D/3D animation.

“Details will be shared on our website in the next few weeks. The criteria, the application, everything will be shared. This is one aspect that aims to attract international filmmaking to come to Saudi.”

Maziad also announced a national grant program “aimed at developing Saudi talent to help them produce movies in Saudi.” The program will be open to KSA nationals who produce or post-produce content in the Kingdom and meet eligibility criteria, the details of which “will be shared shortly on our website,” Maziad said.

Details on partners and content guidelines will also be announced in the coming weeks, Maziad promised. “Every country has its own content guidelines. We're developing a content guideline and it will be shared. We're developing based on what will be acceptable in the society. Already there are women wearing western dresses within Saudi. In terms of censorship and content guidelines, we will also be publishing them within the next few weeks. 

“The guidelines are derived from what is accepted in the society. The content guidelines are also evolving guidelines: they are not stagnant. They will evolve as the society changes and evolves. What was not accepted two years ago is accepted now.”

Speaking to Arab News after the announcement, Saudi filmmaker Hajar Alnaim was most excited about the 50 per cent rebate for hiring Saudi nationals. “This is what we need,” she said. “I believe that education is really essential to follow up with the local talent, to make better content, but working on sets is the most beneficial way to educate. When you do that, you’re not only getting education, you’re not only getting experience, you’re getting inspired. You’re learning the process.

“We have directors, great cinematographers, and more. We have great talent already, but for the upcoming generation, you need them to step up the ladder,” she said.

“I really think that the Saudi Film Council and the General Culture Authority—their objective is to invest in their talent, and that makes me happy. They are putting their local talent as their main priority, and that is exactly what we need as Saudis. We have great talent, and we need to show the world our talent, and our great stories too,” Alnaim continued, noting that it is her dream to shadow a filmmaker such as David Fincher or David Lynch on a Saudi Arabian co-production. Alnaim also hopes that she and her peers will be able to show their feature films in Saudi Arabian cinemas.

“The announcement was very progressive and very unique,” added Dr. Mohamed Ghazala, chair of the visual and digital production department at Effat University in Jeddah. “So far I have never seen an offer like this from another country, to provide this kind of support. For investors from around the world to come and get a minimum of 35 per cent for shooting inside the country—this will encourage many big players in cinema to come and to take advantage of this opportunity, and ultimately support Saudi film.”

Ghazala also believes that future Saudi Arabian productions and international co-productions will help change the world’s view of Saudi Arabia and educate the international community with more empowering depictions of Saudi Arabians, as well as all the region’s Muslims and Arabs.


Hindus, Muslims gather in unity to celebrate Diwali at historic Karachi temple

Updated 02 November 2024
Follow

Hindus, Muslims gather in unity to celebrate Diwali at historic Karachi temple

  • Diwali honors the victorious return of Lord Rama, one of Hinduism’s most revered figures, from exile
  • Devotees light up homes and workplaces, distribute sweetmeats and wear colorful clothes to mark festival

KARACHI: Thousands of men, women and children, both Hindus and Muslims, gathered on Friday at the 234-year-old Shri Swaminarayan temple in the southern Pakistani port city of Karachi to celebrate one of the biggest Hindu festivals, Diwali.

Diwali honors the victorious return of Lord Rama, one of Hinduism’s most revered figures, from exile and was celebrated in various parts of the world either on Thursday or Friday.

It is also known as the festival of lights to symbolize the triumph of light over darkness, or good over evil, explaining why fireworks are so central to the Diwali celebrations.

The Swaminarayan temple, situated in the Serai Quarters area, is not only frequented by Hindus living in the neighborhood, but members of the community from elsewhere in the bustling megapolis too.

“Diwali is a festival of happiness, a festival of lights. Our lord Rama returned to Ayodhya after 14 years in exile. His wife Sita and his [younger] brother Laxman were also with him, who stood by him,” Hansa Rani, an academic, told Arab News, lighting up small oil lamps, called ‘diyas,’ to welcome their Lord.

“We celebrate their return with happiness [on Diwali], wear new clothes, distribute sweets and make rangoli [in which] we decorate our floor with colors.”

A Hindu woman and a young girl hold clay-lamps during a ceremony to celebrate Diwali, the festival of lights, at Somi Narin temple, in Karachi on November 1, 2024. (AP)


One of the most prominent Hindu festivals, Diwali is celebrated across the globe wherever the community resides. Devotees light up their homes and workplaces to signify light over darkness.

The festivities span over the course of five days, starting with ‘Dhanteras,’ that marks the first day of Diwali, followed by ‘Naraka Chaturdashi’ [Choti Diwali], Diwali, ‘Govardhan Puja’ and Bhai Dooj. Each day has different rituals and significance.

Pakistani Hindu women celebrate 'Diwali', the festival of lights, at the Krishna Temple in Lahore on November 1, 2024. (AFP)

“We are here to celebrate Diwali. As you can see, how happy these people are. There is one festival in the entire year during which we have mithai (sweetmeats), worship, light diyas, and meet our relatives,” Gauri Dara, who was at the temple with her family, told Arab News, on the sidelines of the celebrations.

“On this day, our cousins from other cities come to meet us too. We celebrate Diwali together.”

Children light firecrackers during 'Diwali' festival celebrations in Karachi on November 1, 2024. (AFP)

Muslims, who attended the celebrations at the Swaminarayan temple, said they had come to stand in solidarity with their Hindu brothers and sisters and share their happiness on the joyous occasion.

“[Despite] being a Muslim, I come here every year since the past 10 years in fact. I love the fact that we get to celebrate Diwali with our Hindu community every year because I have a lot of Hindu friends in Pakistan,” Qasim Shafique, a senior television news producer, told Arab News.

“Our flag also represents [minorities]. The white part in the [Pakistani] flag is for minorities. So, I come to celebrate that every year. I’ll meet all my Hindu friends here and we will enjoy the festivities together.”


Hia Hub session highlights vital role of pharmacies in Saudi Arabia’s growing skincare market

Updated 02 November 2024
Follow

Hia Hub session highlights vital role of pharmacies in Saudi Arabia’s growing skincare market

RIYADH: Industry leaders discussed the evolving role of pharmacies in skincare during a session at Hia Hub, Saudi Arabia’s fashion, beauty and lifestyle conference, held in Riyadh’s JAX District from Oct. 30 to Nov. 3.

The session, titled “Re-Defining the Pharmacy Channels in Skincare,” brought together prominent figures, including Charlotte Devaux, general manager of wellness and masstige, Pierre Juhen, group president of Patyka, Mahmoud Mamdouh, CEO of Whites Pharmacy, and Cynthia Kattar, editorial director of Hia Magazine.

Mamdouh emphasized the pivotal role of trust in pharmacy skincare. He said: “When discussing pharmacies and skincare, the main concept is trust.” 

(AN/ Huda Bashatah)

Over the past 15 years, pharmacies have cultivated strong relationships with customers, who often turn to pharmacists for personalized skincare consultations, he said. 

Devaux added to the discussion by highlighting social media’s impact on consumer behavior.

(AN/ Huda Bashatah)

She said that while platforms such as TikTok and Instagram offered abundant information, consumers still preferred advice from trusted pharmacists. “Wellness has become a priority for consumers, driving the growth of skincare,” she said. “This reliance on pharmacies as credible sources of information and products is crucial in a marketplace filled with conflicting messages.”

Juhen elaborated on the expansive reach of pharmacies. In Saudi Arabia, there are about 6,000 pharmacy locations, compared to 20,000 in France, he said. 

(AN/ Huda Bashatah)

He said that this dynamic retail channel had shown resilience, even during challenges such as the COVID-19 pandemic, where the pharmacy segment in France experienced growth of 4 percent. 

Juhen highlighted the universal appeal of pharmacies and said: “Everyone visits pharmacies, regardless of age or socioeconomic status,” making them essential points of contact in the community.

The session concluded with a consensus among the speakers on the importance of pharmacies in the skincare sector. As trusted providers of personalized advice and quality products, pharmacies were well-positioned to lead the growth of skincare, they said.


Looking great: Skincare in the spotlight at Hia Hub

Updated 01 November 2024
Follow

Looking great: Skincare in the spotlight at Hia Hub

DUBAI: Hia Hub, Saudi Arabia’s conference for fashion, beauty and lifestyle, returned this week for its fourth edition in Riyadh’s JAX district, featuring discussions, masterclasses, workshops, interactive exhibitions and live performances.

Among the highlights were several appearances by Patrick Chalhoub, president of Chalhoub Group, where he and the guest speakers discussed the latest developments in the skincare industry as part of “The Skincare Edition: Unfiltered” summit.

“The whole idea of the summit is to take our visitors — be it professionals, skincare lovers, or customers who don’t have enough knowledge — through different experiences,” Chalhoub told Arab News ahead of the event.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by Hia Hub (@hiahubofficial)

“They get to diagnose their skin, so they know which areas to focus on, but in a playful way, where people come and engage in all these different experiences, each one brought by a different brand. They’ll learn more in a non-commercial way, almost like a discovery game.”

Speaking about the skincare landscape in Saudi Arabia and the Gulf region, Chalhoub said he had noticed different trends among younger and older consumers.

“The more mature group, I would say, tends to be quite traditional in their skincare habits. They prefer brands they know and trust more than anything,” he said.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by Hia Hub (@hiahubofficial)

 

“Although mature women are the ones who might benefit more from extensive skincare routines, they tend to use fewer products that target specific needs.”

By comparison, people under 30, including men, were “much more conscious of their wellness,” Chalhoub said.

“They use skincare products more frequently and are willing to experiment with innovative products, even with brands that are not necessarily very popular.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by Hia Hub (@hiahubofficial)

“They read more. They are more curious and adventurous, which is why South Korean and Japanese brands, even though they’re not that well known here yet, are making a strong impact in the region.

“Asia has such a big skincare market, with a lot of laboratory research,” he said.

Chalhoub also discussed how climate and culture can influence people’s skincare habits.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by Hia Hub (@hiahubofficial)

“For example, in the Gulf region in general and Saudi Arabia in particular, we know the sun here is very strong. So, sunscreen and products that protect against sun-related damage are essential here.”

People also used more moisturizers to ease the irritation of sun-dried skin, he said.

Chalhoub said that while he believed an era of homegrown skincare products could be on the horizon, it was not an easy industry to break into.

“There is a certain level of research and professionalism required in order to be able to do it,” he said.

“It’s not just about creating packaging and making it attractive, you really need to make sure that the product contains high-quality ingredients. Entering the skincare market will always be more complex.”


Displaced Gazan artists’ work on display in ‘Under Fire’  

Updated 01 November 2024
Follow

Displaced Gazan artists’ work on display in ‘Under Fire’  

  • An exhibition in Amman shows works smuggled out of Gaza during the ongoing Israeli assault 

DUBAI: A couple tenderly embracing each other; a family gathering; a flowering cactus; and a sunset colored in pink, yellow and orange. Such imagery represents some of the delicate drawings produced by four displaced Gazan artists, whose works are currently being showcased at Darat Al-Funun, an art center in Amman.  

Other images on display make for less comfortable viewing: exhausted people with missing limbs; men kneeling blindfolded in their underwear; women and children whose eyes are wide with terror. 

“Under Fire,” which runs until the end of the year, consists of around 80 artworks by Palestinian artists Basel Al-Maqousi, Majed Shala, Raed Issa and Sohail Salem. All four have been forced from their homes due to the ongoing Israeli assault on the Gaza strip, which began in October 2023.  

A piece by Basel Al-Maqousi from the series 'I Draw with Love, not with War.' (Supplied)

For the exhibition’s curator, Mohammad Shaqdih, receiving the artists’ highly-charged artworks proved to be a cathartic experience. “I was following their work on social media, but when (the pieces) reached Amman and I held them in my hands, I cried at first, to be honest,” Shaqdih tells Arab News. “I was in a state of sadness and I don’t know why. While I was looking through them, I would take a drawing and then quickly put it away. There’s so much death, sadness and blood in these works. At the same time, they embody a form of resilience and resistance. They have life.”  

Organizing any art exhibition comes with its own set of challenges, but planning “Under Fire” was exceptionally difficult.  According to Shaqdih, communicating with the artists through messaging applications and having their works transported across the border were the main issues faced by the curatorial team.  

Raed Issa, 'Friends.' (Supplied)

In May and June 2024, around 100 artworks were taken from Gaza to Egypt. In early October, the works reached Jordan. “These works were passing through some conditions that were dangerous. Some of works were damaged or torn apart,” explains Shaqdih. “It was an adventure taking these works out of Gaza, but, thank God, they reached us.”  

The surviving artworks — predominantly sketches and line drawings — were created, by necessity, using the most basic of materials. Raed Issa, for instance, created his figurative images on medical aid packages using tea as a coloring base. Sohail Salem drew intensely-lined pen drawings in school notebooks provided by the UN Relief and Works Agency.  

Al-Maqousi is showcasing a series of drawings of daily life in crowded camps. “He said: ‘These works are not paintings or works of art for people to see or buy. They are a part of our bodies,’” Shaqdih says.   

Sohail Salem, 'Tala Abu Ajwa, Girl Skater.' (Supplied)

Thematically, the artworks — which are being sold to benefit the artists — are simple and touching. They evoke despair, loss and confusion, but there are elements of hope, love and beauty. One of Issa’s images of two young individuals, depicted with unclear features, is slightly enlivened by the red flowers they hold in their hands.  

“When you read the artists’ incredible accompanying statements, they’re full of human feelings,” Shaqdih says. “What they’re saying is that despite everything they’re going through with this genocide, they are still standing strong and resisting even if it’s through the act of drawing the daily massacres. They’re still able to work and express their existence as human beings under all the ugliness in this world. It’s a form of resistance and resilience.” 

Majed Shala, born in Gaza in 1960, is one of the exhibition’s participants. His works in “Under Fire” depict personal memories, scenes of nature, and life under bombardment. 

Shala’s home and studio were destroyed more than a year ago and he lost all of his artworks. “Under the sound of nonstop bombing, we were (told) to leave our area. We didn’t know where to go,” he tells Arab News. Shala is currently in Deir Al-Balah in central Gaza, where, he says, “the situation is continuously difficult. There is no safety and there are no essential supplies.”  

On a positive note, he says he feels a sense of pride at having his sketches on display in Amman, a city he loves and where he has many friends.  

“I hope that the world stands by those who have the rights, who own the land,” says Shala, “and doesn’t simply watch indifferently from a distance.”  


Saudi designer Nouf Al-Rashed launches latest collection in London

Updated 01 November 2024
Follow

Saudi designer Nouf Al-Rashed launches latest collection in London

RIYADH: Narma, the label founded by Saudi designer Nouf Al-Rashed, showcased its inaugural collection, titled Agal, in London this month. 

The womenswear line features the black cord of the agal — the Arab men’s clothing accessory that keeps the ghutrah in place — as a central theme throughout each piece. 

“The Agal collection is inspired by the rich heritage of the Middle East, particularly the agal, a symbol of honor, pride, and identity,” Al-Rashed told Arab News. “By reimagining this traditional piece, we are blending the past with the present, offering modern fashion that pays homage to our roots while embracing a contemporary, global aesthetic. 

The designs prioritize inclusivity and accessibility, moving away from traditional gendered pieces. (Supplied)

“While we are not exclusively a womenswear line, in the context of the agal we do feel drawn to highlight it most,” she continued. “Our womenswear line seeks to empower women with designs that are not only luxurious and beautifully crafted but also deeply connected to a meaningful narrative. It’s about sharing heritage and offering elegant pieces with character. Moreover, the collection is a blend of heritages, a concept that resonates deeply with the Narma brand.” 

The designs prioritize inclusivity and accessibility, moving away from traditional gendered pieces, she explained. 

“In this collection, the agal — a traditional male accessory — has been transformed into a bold and symbolic design element.  As women were traditionally excluded from the Agal, we wanted to bring in the idea of a woman’s crown. We aimed to share this symbol of honor with a female audience, making it more inclusive and accessible to all,” said Al-Rashed.

Saudi designer Nouf Al-Rashed is the founder of Narma. (Supplied)

 Sustainability is also a core principle for Al-Rashed, who is dedicated to crafting durable, ethically-produced ensembles. 

“We use eco-certified fabrics to ensure our materials are responsibly sourced. We also upcycle dead stock fabrics, minimizing waste and promoting circularity in fashion,” she said. “We work with partners who follow fair labor practices and prioritize minimizing environmental impact. Our designs are optimized to eliminate fabric waste, and we embrace a slow-fashion approach, producing just one carefully curated collection each year. By releasing limited editions, we avoid overproduction and remain true to our sustainable values.” 

While the inaugural showing of the Agal collection was in London, Al-Rashed plans to bring it to the Kingdom before the end of the year.  (Supplied)

Al-Rashed also revealed the deep influence that her parents have had on her career. Her mother May Aljabr's philanthropic efforts with the Saudi Cancer Foundation, along with her father Rashed Al-Rashed's achievements in the world of business, have inspired her to make a meaningful impact in her own right, she said. 

While the inaugural showing of the Agal collection was in London, Al-Rashed plans to bring it to the Kingdom before the end of the year. 

“Although the inspiration for the Agal collection is deeply rooted in Middle Eastern culture, the idea and the brand of Narma were born in London. It felt natural to launch the collection here, in the city that shaped so much of our creative journey. Soon in Riyadh, we will be bringing Narma back to the culture that inspired the collection. 

“We hope to evoke in all audiences the same sense of playfulness, curiosity, imagination, and lightness that we felt while bringing this collection to life.”