How Saudi Arabia’s filmmakers hit their stride since the resumption of movie screening

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Updated 01 May 2023
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How Saudi Arabia’s filmmakers hit their stride since the resumption of movie screening

  • Box-office revenues in the Middle East have bounced back thanks in part to the success of Saudi cinema
  • Resumption of movie screening across the Kingdom has kindled great interest in production for the big screen

RIYADH: For 35 years, Saudis were deprived of the quintessential cinema experience — the giddiness of waiting in line to buy a ticket, the rising anticipation as the lights dimmed, and the thrill of watching movie trailers projected on the screen while munching on freshly popped corn kernels.

April 18 marked five years since the resumption of movie screening across the Kingdom for the first time since the 1970s. But the lifting of the ban has been about more than mere entertainment.

The power of Saudi cinema has revolutionized the film economy in the region, institutionalized a creative industry, and set the stage for generations of undiscovered talent, while celebrating the Kingdom’s identity.




A lot has happened since cinemas in the Kingdom reopened in 2018. (Arab News Archive)

Even before the reopening of domestic cinemas, a glimmer of hope came in the form of Haifaa Mansour’s 2012 film “Wadjda,” the first all-Saudi cast feature shot in Saudi Arabia.

Although the handful of screening venues in the Kingdom were highly censored at the time, the film still garnered international success, grossing millions in box office sales globally.

Mahmoud Sabbagh’s “Barakah Meets Barakah” made waves in 2016 with its commentary on conservatism in the guise of comedy, followed by Ayman Tamano’s horror film “Madayen,” and multiple other short and feature film ventures that blazed a trail for a new era of cinema.




Hollywood actor John Travolta attending a special event organized by the Kingdom's General Authority for Entertainment in Riyadh in 2017. (AFP)

When the ban was lifted in 2018, crowds flocked to cinemas to watch the iconic Marvel blockbuster “Black Panther,” transforming the way Saudis experience film to this day. 

Film producer Walaa Bahefzallah recalls attending a screening of “Aquaman,” marking her first visit to a movie theater.

“I got very emotional. I got chills and started tearing up, because I couldn’t help but think ‘Why did it take this long? What for?’” Bahefzallah told Arab News. “Cinema has created societies, changed rules, created heritage. Cinema initiated social and cultural movements.”




Walaa Bahefzallah (right), casting director of Saudi film Champions, alongside the cast at the 2021 Red Sea Film Festival, including Fatima Albanawi (center).  (Supplied)

Bahefzallah graduated from film school in 2010 at the top of her class, but had been working in the industry since 2007 in Egypt. In 2013 she established Rose Panthera, an experimental production company.

In addition to her many works, Bahefzallah has recently lent her talents as the casting director and production executive of the AlUla-shot Hollywood production “Kandahar,” set to premiere on May 6.

“Cinema was a late entry into Saudi society, so (the community) already had a specific taste in entertainment,” she said. “They were first opposed to Saudi-made content and we only found negative judgment, and most turned from viewer to critic. We can’t blame them.




The number of ticket sales in Saudi Arabia amounted to 30,860,956 for films in 22 languages ​​from 38 countries since 2018. (Social Media)

“Lately — after ‘Shams Al-Maaref’ (‘The Book of Sun’), ‘Abtal,’ ‘Sattar’ and ‘Alhamour H. A.’ — they realized there’s a new era of cinema being built and a one that speaks to our minds and our issues, in our own language and sense of humor — a cinema that understands us.”

According to the General Commission for Audiovisual Media, 31 Saudi films have been produced in the five years since the cinema ban was lifted.

These Saudi-made films include the family drama “40 Years and One Night,” the football comedy “Abtal” (“Champions”), the true-to-life “Shihana,” and the animated film “Masameer.”

Long gone are the decades of pay-per-view, stacks of foreign DVDs, improvised movie halls, underground screenings and travels to nearby countries, most notably Bahrain, for a weekend of binge-watching the latest releases.

And, just as cinema footfall and profits are in decline elsewhere in the world, box-office revenues in the Middle East and North Africa region have rapidly bounced back, largely thanks to the success of Saudi cinemas.

FASTFACTS

Entertainment chains currently operation in Saudi Arabia include VOX Cinema, AMC, Reel Cinemas and Muvi Cinemas.

Muvi Cinemas alone has 205 screens in 21 locations in 10 different cities.

However, it appears there is still an untapped market in the Kingdom. The highest-grossing film in Saudi Arabia to date, “Top Gun: Maverick,” sold an estimated 1.2 million tickets among a population of 35.95 million, which suggests only a fraction of the Saudi public are regularly visiting cinemas.

“With more films being produced and continuous success, there will be a higher demand,” Faris Godus, director and co-writer of “The Book of Sun,” told Arab News.




Muvi Studios is breaking records at the Saudi box office, with more than 1 million tickets sold for its two latest productions. (Supplied)

“Most people who went in to buy the first cinema tickets were considered early adopters, coming in with no expectations to try something new. But now they have precedents to compare films to.”

“The Book of Sun,” a production from The Godus Brothers’ Tape Productions, funded by the Red Sea Film Festival, was one of the first Saudi films to be screened in commercial cinemas. It was recently named the fourth most-attended Saudi film.

“The merit of cinema is the collective experience,” Godus said. “As human beings, we’re impacted by others. When we’re trying something new, it’s good to experience it collectively.

“When we watched ‘The Book of Sun’ in theaters, some people were laughing at lines or getting excited at parts I didn’t know would have that sort of impact. It created a first impression of the film that spread widely through word of mouth. It was great and I believe Saudi films are in need of this stage of engagement.”




Two young Saudi film directors have been presented with trophies after winning the second edition of a 48-hour filmmaking challenge. (AN Photo/Ali Khameq)

Indeed, Saudi filmmakers appreciate how cinema-going creates community bonds that allow them to draw feedback from their audiences. 

“This has allowed for a greater appreciation of Saudi’s diverse culture and storytelling, as well as increased opportunities for Saudi filmmakers to showcase their creativity, expand it, and export our culture, language, idioms, values and jokes to the world,” Saudi actress Summer Shesha told Arab News.

“Having the space that allows us to gather, laugh, cry and feel as one plays a significant role in shaping the way Saudi content is experienced and made.”

Shesha said that she cried when she heard the news that cinemas would reopen. She had taken part in her first feature film role in 2017’s “Exit 5,” but only ever saw it screened at festivals.

“Then experiencing watching my second feature ‘Kayan,’ directed by Hakeem Jomaa, in the theater among my friends, family and the audience is a feeling I will never forget,” she said.




Two young Saudi film directors have been presented with trophies after winning the second edition of a 48-hour filmmaking challenge. (AN Photo/Ali Khameq)

“It was surreal, to see my face on the big screen and hear and see the reaction of my people at the same time. This memory still gives me goosebumps.

“I was grateful to be a part of an industry that did not even exist, and that I believed in what I loved and did it anyway, to witness and contribute to this significant change.”

Saudi actress Ida Alkusay was studying abroad when she heard the news that cinemas were reopening in her home country.

“Ironically, I was studying film to be able to have movies shown on those big screens back home. Hearing that news made me feel like half of the battle was already won,” Alkusay told Arab News.

Prior to 2018, a role in a rising, yet premature, film industry was a pipedream for many aspiring actors. Supported by the Saudi Film Commission, which has worked to legitimize the local film industry and create job opportunities, there has never been a better time to pursue a career in Saudi cinema.




Saudi women study film making at a university in Jeddah, Saudi Arabia March 7, 2018. (REUTERS)

“Giving opportunities to talents and investing in filmmakers and local movies will pay off because we are here to create our legacy and document it,” Alkusay said. “Saudi Arabia is rich in heroic histories and this legacy should be celebrated and shared.”

The actress has landed multiple opportunities in the industry since returning home, including a role in MBC’s “Rise of the Witches,” the TV mini-series “Akher Riyal” (“Cut Off”), and a leading role in the 2021 horror film “Junoon,” which premiered in cinemas last October.

Brothers Maan B. and Talha B., the film’s producers, told Arab News: “Seeing your debut film being watched is something inspiring. When we studied film in 2013, we never thought this day would come.

“We think greater and bolder films will follow in the next five to ten years because the audience is smarter than you think and they want something both entertaining and thought-provoking, not something shallow they can watch for free in the comfort of their homes. This makes things more challenging for us filmmakers, as we are competing with streaming services and social media content.”




The opening of theaters in the Kingdom has been widely welcomed by the Saudis, who used to flock to Bahrain or Dubai to for entertainment. (Photo Courtesy: Red Sea Film Festival)

While streaming services are considered cinema’s biggest competitors, the re-emergence of movie theaters in Saudi Arabia has reawakened interest in filmmaking for the big screen.

Maan B., who also starred in and co-directed “Junoon,” said: “A lot of people who had that passion wanted to get back into the game.

“A lot of universities are helping with that by providing film or media majors highlighted in their programs, and it’s drawing a lot of attention from the newer generation.

“I envy the new generation. It’s all set up for them and they need to take advantage of it all — the opportunities, the support, the funds — to be recognized and do good work.”




The Saudi Film Festival highlights desert cinema in an interactive artwork inspired by the Tuwaiq mountains. (SPA)

Fahad Alqahtani was on the lookout for a hobby when he stumbled into acting. His first opportunity arose in Shahid’s original TV show “The Fates Hotel,” before later securing the lead role of Hamed in Saudi cinema’s latest release “Alhamour H.A.”

“This film is close (to the hearts) of the Saudi community and I’m very happy about that,” Alqahtani told Arab News.

“The interest in attending cinema screenings in Saudi is on a noticeable high, to the point where it drew in investors in the film industry ... (After 2018) I felt that the cinema scene was a lot more mature and serious, and this will create a world of difference in our outputs.”

The movie is the second-most-viewed Saudi film in theaters after the action comedy “Sattar.” The raging success of “Sattar” was in part due to well-calculated timing.




The Saudi comedy “Sattar” received high praise since its premiere last year, and has recently become the highest grossing Saudi movie with almost 900,000 ticket sales to date. (Supplied)

Ibraheem Alkhairallah, the film’s writer, producer, and co-star, told Arab News: “When we dropped ‘Sattar,’ we knew it was time ... Our whole time on the Internet was training for this big move.”

Telfaz11, which had spent years building its online presence, strategically awaited the establishment of cinemas in smaller districts before releasing what would become the country’s greatest cinema hit yet.




Ibraheem Alkhairallah on the set of Saudi film Sattar, where he portrayed the character of Abdulkhaleq, an undercover officer pretending to be a wrestling coach. (Supplied)

“The closest theater to the southern region isn’t Jeddah anymore; it’s Khamis Mushait, Abha. Hafar Al-Batin is not Dammam or Sharqiyah anymore — it’s themselves,” said Alkhairallah.

Khamis Mushait was one of the top five locations for the most ticket sales for screenings of “Sattar.” However, creatively speaking, Alkhairallah believes the film made a splash because it stayed true to Saudi culture.

“Talk to the audience. Don’t talk to the big festivals and foreigners to reach (success). No — once they see the interest from your own audience, it’ll travel.”

 


Bella Hadid turns spotlight onto powerful Ms. Rachel poem

Updated 08 June 2025
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Bella Hadid turns spotlight onto powerful Ms. Rachel poem

DUBAI: American Dutch Palestinian supermodel Bella Hadid has shared a powerful poem by popular children’s educator and YouTuber Rachel Griffin Accurso, known globally as Ms. Rachel, amplifying its message of hope and solidarity with Gaza.

The poem, titled “The People Were Brave,” went viral on social media for its stirring call to action urging people to show bravery and use their voices for good.

“The leaders were mostly silent. They were scared of what they might lose. The celebrities were mostly silent. They were scared of what they might lose. The media was mostly silent. They were scared of what they might lose. But the people were not silent. They were brave,” the poem begins.

“So never stop speaking up for those in need. Never wait for the world. It was ordinary people that became extraordinary. And changed everything. And moved us all. And saved us all,” it ends.

Last week, Ms. Rachel made headlines when she said she was willing to jeopardize her career to advocate for Palestinian children suffering under the Israeli bombardment of Gaza.

She said she had been targeted by online campaigns and faced calls for government investigation after voicing support for children affected by war in Gaza and elsewhere.

Despite growing criticism from some pro-Israel groups and conservative media, in a recent interview with WBUR, a Boston-based public radio station, she said she remained defiant.

“I would risk everything — and I will risk my career over and over to stand up for children,” she said.

“It’s all about the kids for me. I wouldn’t be Ms. Rachel if I didn’t deeply care about all kids.”

The YouTube star added a recent meeting with Palestinian mothers whose children remain trapped in Gaza had had a profound effect on her: “When you sit with a mother who’s FaceTiming her boys in Gaza who don’t have food, and you see that anguish, you ask yourself: What more can I do?”

A former teacher in New York, Ms Rachel said her work had always been rooted in the principle that all children, regardless of nationality or background, deserved dignity, safety, and access to basic needs.

“That’s the basis of everything for me — children are equal,” she said. 


Petals and thorns: India’s Booker prize author Banu Mushtaq

Updated 08 June 2025
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Petals and thorns: India’s Booker prize author Banu Mushtaq

  • Mushtaq won the coveted literature prize as the first author writing in Kannada — an Indian regional language
  • As a young girl worried about her future, she said she started writing to improve her “chances of marriage”

HASSAN, India: All writers draw on their experience, whether consciously or not, says Indian author Banu Mushtaq — including the titular tale of attempted self-immolation in her International Booker Prize-winning short story collection.
Mushtaq, who won the coveted literature prize as the first author writing in Kannada — an Indian regional language — said the author’s responsibility is to reflect the truth.
“You cannot simply write describing a rose,” said the 77-year-old, who is also a lawyer and activist.
“You cannot say it has got such a fragrance, such petals, such color. You have to write about the thorns also. It is your responsibility, and you have to do it.”
Her book “Heart Lamp,” a collection of 12 powerful short stories, is also her first book translated into English, with the prize shared with her translator Deepa Bhasthi.
Critics praised the collection for its dry and gentle humor, and its searing commentary on the patriarchy, caste and religion.
Mushtaq has carved an alternative path in life, challenging societal restrictions and perceptions.
As a young girl worried about her future, she said she started writing to improve her “chances of marriage.”
Born into a Muslim family in 1948, she studied in Kannada, which is spoken mostly in India’s southern Karnataka state by around 43 million people, rather than Urdu, the language of Islamic texts in India and which most Muslim girls learnt.
She attended college, and worked as a journalist and also as a high school teacher.

Constricted life

But after marrying for love, Mushtaq found her life constricted.
“I was not allowed to have any intellectual activities. I was not allowed to write,” she said.
“I was in that vacuum. That harmed me.”
She recounted how as a young mother aged around 27 with possible postpartum depression, and ground down by domestic life, had doused petrol on herself and on the “spur of a moment” readied to set herself on fire.
Her husband rushed to her with their three-month-old daughter.
“He took the baby and put her on my feet, and he drew my attention to her and he hugged me, and he stopped me,” Mushtaq told AFP.
The experience is nearly mirrored in her book — in its case, the protagonist is stopped by her daughter.
“People get confused that it might be my life,” the writer said.
Explaining that while not her exact story, “consciously or subconsciously, something of the author, it reflects in her or his writing.”
Books line the walls in Mushtaq’s home, in the small southern Indian town of Hassan.
Her many awards and certificates — including a replica of the Booker prize she won in London in May — are also on display.
She joked that she was born to write — at least that is what a Hindu astrological birth chart said about her future.
“I don’t know how it was there, but I have seen the birth chart,” Mushtaq said with a laugh, speaking in English.
The award has changed her life “in a positive way,” she added, while noting the fame has been a little overwhelming.
“I am not against the people, I love people,” she said referring to the stream of visitors she gets to her home.
“But with this, a lot of prominence is given to me, and I don’t have any time for writing. I feel something odd... Writing gives me a lot of pleasure, a lot of relief.”

‘The writer is always pro-people’
Mushtaq’s body of work spans six short story collections, an essay collection and poetry.
The stories in “Heart Lamp” were chosen from the six short story collections, dating back to 1990.
The Booker jury hailed her characters — from spirited grandmothers to bumbling religious clerics — as “astonishing portraits of survival and resilience.”
The stories portray Muslim women going through terrible experiences, including domestic violence, the death of children and extramarital affairs.
Mushtaq said that while the main characters in her books are all Muslim women, the issues are universal.
“They (women) suffer this type of suppression and this type of exploitation, this type of patriarchy everywhere,” she said. “A woman is a woman, all over the world.”
While accepting that even the people for whom she writes may not like her work, Mushtaq said she remained dedicated to providing wider truths.
“I have to say what is necessary for the society,” she said.
“The writer is always pro-people... With the people, and for the people.”


Emirati artists perform in showcase at London’s Kensington Palace

Updated 07 June 2025
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Emirati artists perform in showcase at London’s Kensington Palace

LONDON: “If we do not tell our story, someone else will. And they will get it wrong,” said Huda Alkhamis-Kanoo, founder of the Abu Dhabi Music & Arts Foundation, following a performance in London on Friday that brought Emirati talent to a major international platform.

Emirati artists took to the stage at Kensington Palace to present a night of operatic performances. Fatima Al-Hashimi, Ahmed Al-Housani, and Ihab Darwish performed in multiple languages including Arabic, Italian and English. The performance was part of the Abu Dhabi Festival’s Abroad program in collaboration with the Peace and Prosperity Trust. The event was intended to promote Emirati cultural expression through classical music and cross-cultural collaboration.

Fatima Al-Hashimi, Ahmed Al-Housani, and Ihab Darwish performed in multiple languages including Arabic, Italian and English. (Supplied)

Alkhamis-Kanoo said an event like this is vital for cultural diplomacy and is not a one-off, but a commitment to placing Emirati talent on the world stage. 

“It’s about creating understanding, building dialogue, and showing the world the strength of our cultural identity through music,” she explained. “We invest in the young, we partner with the world, and we build cultural legacies that last.” 

The evening also included the premiere of Darwish’s latest composition “Ruins of Time,” which blended orchestral arrangements with traditional Arabic elements.

“Music is the fastest way to reach people. It creates peace, it creates understanding,” Darwish told Arab News. “Music removes boundaries. It creates a shared language, a dialogue of coexistence, peace, and tolerance. When people from different cultures come together to create music, it naturally fosters mutual understanding.”

Al-Hashimi explained the intention behind adapting a classical repertoire to reflect Arab identity. “Even while singing in Italian, I included Arabic lyrics to keep our signature present,” she said.

Al-Housani described the event as a “professional milestone,” adding: “Performing here is more than a concert, it’s a message. We’re here to show the world the strength and beauty of our culture.”


As goats get pricier, Pakistan’s capital turns to falooda dessert to keep Eid Al-Adha spirit alive

Updated 08 June 2025
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As goats get pricier, Pakistan’s capital turns to falooda dessert to keep Eid Al-Adha spirit alive

  • Falooda is made with vermicelli in cold milk, softened basil seeds and generous scoops of vanilla or kulfi ice cream
  • Final touch is a fragrant pour of rose syrup, turning concoction into a pink-hued celebration of summer and Eid

ISLAMABAD: With sacrificial goats commanding million-rupee price tags this Eid Al-Adha, many in Pakistan’s capital are seeking solace not in the livestock markets, but in a humbler tradition: a chilled bowl of falooda — a silky, rose-scented dessert layered with ice cream, nostalgia, and just enough sweetness to lift a heat- and inflation-weary soul.

A dessert with Persian roots, falooda made its way to South Asia during the Mughal era, evolving from a frozen, rose-infused noodle pudding in Iran to the vibrant, multi-textured treat beloved across Pakistan today.

At its best, falooda is an edible symphony, a tangle of thin vermicelli swimming in cold milk, softened basil seeds (tukhmalanga) floating like miniature pearls, and a generous scoop of vanilla or kulfi ice cream crowning the glass. The final touch is a fragrant pour of rose syrup, turning the whole concoction into a pink-hued celebration of summer — and now Eid.

Nowhere is this more evident than at Bata Kulfi Falooda, a small, family-run dessert shop in Islamabad’s bustling I-8 Markaz marketplace.

There, amid the clatter of spoons and the hum of Eid shoppers, customers line up for what’s become a seasonal staple, the shop’s signature Matka Falooda, served in traditional clay bowls that keep the dessert ice-cold, even under the blazing June sun.

“We first opened in Peshawar [northwestern city] in 1962,” said Shah Faisal, the shop’s manager, as he rushed between customers to take orders. “In 2015, we brought the same taste to Islamabad. Nothing has changed. The ingredients, the method, even the feel of it, it all comes from Peshawar.”

During Eid week, Bata Kulfi Falooda’s signature Matka Falooda becomes more than a dessert. It’s a celebration in a bowl.

“It’s a memory in every bite,” said Muhammad Kamil, a 27-year-old student who had just returned from a livestock market, saying he was stunned by the jaw-dropping prices.

“Right at the entrance, we saw a goat priced at Rs1.5 million [$5,350]. A little further in, there was a sheep for Rs2 million [$7,140],” Kamil said as he waited for his bowl of falooda.

“After seeing a goat worth Rs1.5 million, only ice cream could cool us down, otherwise it would’ve been hard to keep the spirit of sacrifice alive.”

Determined to celebrate in his own way, Kamil turned to falooda, at a far more palatable Rs450 ($1.60) per bowl.

What drew him in, he said, was the comforting presentation: the cold earthen bowl, the soft noodles slicked with syrup, and the melting scoop of ice cream sinking slowly into the milky depths. He’s even considering gifting bowls of it to friends this Eid.

Indeed, with families across Islamabad and beyond rethinking how to celebrate Eid this year, it may not be the size of the goat that sets the mood but rather the shared sweetness of something simple, familiar, and deeply rooted in tradition.

So, while this Eid may see fewer families walking home from markets with goats in tow, many are still finding ways to savor the spirit of the season with a humble bowl of falooda, which is doing more than just cooling people down — it’s lifting spirits, one spoonful at a time.

According to shop manager Faisal, falooda easily outpaces even their famous kulfi in popularity during the Eid holidays.

“In this heat and with everything getting so expensive, people still want something festive,” he said. “And falooda brings joy that doesn’t cost a fortune.”


Andria Tayeh nominated at Austrian Film Award

Updated 07 June 2025
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Andria Tayeh nominated at Austrian Film Award

DUBAI: Lebanese Jordanian actress Andria Tayeh has been nominated for best supporting actress at the Austrian Film Award for her role in “Mond.” 

The ceremony is scheduled to take place from June 12 to June 15.

Tayeh shared the news with her followers on Instagram, thanking her supporters and the awards organization for the recognition.

She is nominated alongside Italian actress Gerti Drassl and Austrian actress Maria Hofstatter.

“Mond” is directed by Austrian filmmaker Kurdwin Ayub. The film follows former martial artist Sarah, who leaves Austria to train three sisters from a wealthy family in the Middle East. 

What initially appears to be a dream job soon takes a darker turn: The young women are isolated from the outside world and placed under constant surveillance. They show little interest in sports — raising the question of why Sarah was hired in the first place.

Tayeh plays the role of Nour, one of the three sisters. 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by Andria Tayeh (@andria_tayeh)

The actress, who is also known for her roles in Netflix’s hit series “Al-Rawabi School for Girls,” has had a busy year collaborating with multiple brands and fronting their campaigns.

In February, Giorgio Armani announced her appointment as its new Middle East beauty ambassador.

She took to Instagram to express her excitement: “I am thrilled and honored to embark on this new journey with Armani beauty. This marks a real milestone for me, as the brand embodies values I have always cherished: timeless elegance, dramatic simplicity, and women empowerment.”

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by Andria Tayeh (@andria_tayeh)

That same month, she was named the first Middle Eastern ambassador for French haircare brand Kerastase.

In a promotional clip, she appeared in an all-white studio, answering questions about why she is the ideal Kerastase ambassador. Tayeh spoke in a mix of English, Arabic and French, playfully flipping her hair for the camera as she discussed her dedication to maintaining healthy hair.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by Andria Tayeh (@andria_tayeh)

In March, she also fronted Armani’s Ramadan campaign, set against the backdrop of a desert landscape.

Draped in a flowing emerald-green abaya, Tayeh was seen in the video applying the Vert Malachite perfume from Armani Prive as the camera captured the details of the fragrance and her attire. The setting featured sand dunes stretching into the horizon.