RIYADH: Leading Japanese bank Mizuho Financial Group, Inc. and state-owned Saudi Arabian Oil Co. (Saudi Aramco) have signed a major agreement for business cooperation with an aim to support Japanese companies investing in the Kingdom. The move will go a long way in expanding ties between the Kingdom and Japan, especially in energy sector.
“With the memorandum of understanding, Mizuho, the sole Japanese bank to have an office in Saudi Arabia, will work more closely with the Kingdom and provide enhanced support to Aramco, which works to transform its business portfolio,” the Tokyo-based financial group said in a press statement, while referring to the visit of Deputy Crown Prince Mohammed bin Salman to Tokyo.
The statement said that “Mizuho will use Aramco’s knowhow and network to introduce Japanese companies, in particular SMEs and middle-marketers which have unique technological advantages, to Aramco and other Saudi companies as their business partners.”
Saudi Arabia is currently promoting the national growth strategy called “Saudi Vision 2030” and Aramco is enhancing its business especially in the fields of renewable energy, privatization and capital markets.
“Under the vision as announced by the deputy crown prince, Saudi Arabia goes full speed to promote privatization of state-owned companies and sophistication and diversification of industries,” the bank said.
It also pointed out that the Middle East North Africa region has large potential with over 600 million population and Saudi Arabia in particular is expected to see rapid growth in near future.
On the other hand, Mitsubishi UFJ Financial Group Inc.’s banking unit and its two biggest Japanese peers plan to endorse a non-binding agreement with Saudi Aramco to expand lending to the state-run firm as it considers an initial public offering. Bank of Tokyo-Mitsubishi UFJ Ltd. President Takashi Oyamada and Sumitomo Mitsui Financial Group Inc. Chairman Masayuki Oku are expected to agree to a memorandum of understanding in Tokyo with executives of the Saudi Aramco, according to reports.
Tokyo-based lenders are seeking to get involved in Aramco’s IPO, according to reports published in a section of Japanese press. Japan’s Trade Ministry has asked the oil company to list its shares on the Tokyo Stock Exchange. MUFG and its rivals are accelerating efforts to grab larger clients abroad like Aramco to counter slowing loan demand and shrinking interest rates at home.
These developments are very important for the energy market and for Saudi-Japan ties as the deputy crown prince wraps up his visit to Japan and China this week, giving the Asian nations an opportunity to deepen energy ties as the Kingdom prepares what could be the biggest IPO ever. Aramco and Japanese government officials plan to discuss a potential Tokyo listing soon.
The banks are eyeing increased business in Saudi Arabia as Aramco diversifies its portfolio into alternative energy and Japanese companies race to provide technology and services. But according to people close to the discussions, the underlying aim of Japan’s financial titans — Mitsubishi UFJ, Sumitomo Mitsui Financial Group and Mizuho Financial — is to negotiate themselves closer to the world’s largest oil exporter and use tighter business ties as a springboard to greater involvement in its planned IPO.
On the other hand, Saudi Aramco and the Japanese government are set to agree on a massive expansion of crude oil storage capacity in Okinawa, used by the state-run firm to store oil, Saudi Aramco CEO Amin H. Nasser said Thursday. In return for providing free storage space, Japan gets a priority claim on the stockpiles in case of an emergency.
“It would be in the best interest for Saudi Aramco and Japan to increase the capacity,” Nasser told reporters in Tokyo. “We are looking at a couple of million (barrels) more than what we have now.”
A senior Japanese government spokesman confirmed the two sides had agreed to expand and extend the current storage deal, though details had not been decided. The deal is set to be signed in October.
Japan treats the crude oil stored at Okinawa as quasi-government oil reserves, counting 50 percent of the barrels stored by Aramco and ADNOC as national crude reserves.
Saudi Aramco has stored crude in Okinawa since February 2011, and has used the facility to supply crude oil to China, Japan and South Korea among others.
The storage pact comes as part of a broad cooperation agreement between Prince Mohammed and Japan’s Prime Minister Shinzo Abe, who met Thursday to discuss the Kingdom’s drive to cut its reliance on crude oil exports among other issues. The two nations also agreed to set up a ministerial forum, called “joint group for Japan Saudi Vision 2030”, to discuss their collaborations.
The collaboration will mainly focus on industry, finance and energy to contribute to Japan’s growth strategy led by Abe as well as the Kingdom’s economic reforms driven by the deputy crown prince.
The first meeting will be held in Riyadh in October. Under the agreement, the Kingdom’s top sovereign wealth fund Public Investment Fund (PIF) and state-owned Japan Bank for International Cooperation (JBIC) and state-backed Innovation Network Corporation of Japan (INCJ) will also consider jointly investing in, and jointly financing, projects.
New era of Saudi-Japan relations
New era of Saudi-Japan relations
Pilgrims through the lens: How photographers document scenes of faith during Hajj
- Israel’s latest operation and weeks-long aid blockade have sparked unprecedented calls for sanctions from key Western allies
MAKKAH: Every year, the holy lands transform into a unique visual spectacle pulsing with faith and human diversity, drawing the world’s eyes to Makkah, where millions of Muslims perform the pilgrimage of Hajj.
During this period of spiritual and human momentum, photographers stand as visual historians, conveying to the world unforgettable scenes through their lenses that capture moments of worship, tears, unity, mercy, and cultural diversity.
Photographer Anas Al-Harthi said: “When I carry my camera during Hajj season, I feel that I am not just documenting an event but painting a grand canvas of faith in human colors from every continent.”
He added: “A photographer during Hajj does not just take a picture — he moves with a deep sense that this shot may remain a witness to a moment that will never be repeated in the pilgrim’s life.”
Al-Harthi pointed out that the greatest challenge is respecting the sanctity of the scene without interfering with it, which requires a high artistic sense and an appreciation of place, time and situation.
Photographer Anas Bakhsh said that the experience of photographing during Hajj places the photographer at the heart of human emotion.
“Thousands of faces pass before you, and each face carries a story, every tear bears a prayer, and every movement expresses longing and contentment. Sometimes I feel that the photo I took is an answered prayer for someone in a moment of complete submission to God.”
He said that the scene forever engraved in his memory is when crowds gather on the plain of Arafat at the same time, a majestic sight where differences between people dissolve and the sounds of Talbiyah and supplication rise.
Photographer Faisal Al-Thaqafi said that professional photography during Hajj is not only about technical skill, but also about cultural and religious awareness, and the ability to engage with the scene with the spirit of a believing photographer. “The photographer during Hajj is not just a professional holding a camera — he is an eye pulsing with faith, translating emotion into imagery.”
He added: “Sometimes you capture an image of an elderly pilgrim raising his hands to the sky, and you realize that this photo will remain in people’s hearts more than any commentary or report — because it is sincere, pure, and simple.”
The three photographers agree that the logistical challenges — crowds, heat, and problems involving mobility — do not stand in the way of their passion. Instead, they drive them to exert double the effort to document this unique event.
Bakhsh said: “Every season, I return home with thousands of photos, but I keep only one or two for myself — those images that I feel touched something inside me and perhaps touched the hearts of millions around the world.”
Al-Thaqafi said that a successful photograph during Hajj is not only one of high visual quality, but one that conveys a genuine emotion. “The strongest images are those that do not need an explanation. You see a pilgrim smiling or crying, and you feel your heart tremble.”
Al-Harthi believes that a photograph can change the world’s perception of Hajj and bring this great ritual closer to non-Muslims as well, saying: “We are not working only for documentation — we are working to build a human bridge, where the spirit of Islam is shown through an honest and professional lens.”
With these sincere lenses, the Hajj season becomes an open exhibition of spirituality, where photos tell stories that words cannot express, and bear witness to the greatest annual human gathering, where everyone is equal in attire, and united in purpose: seeking mercy and forgiveness.
Amid this visual momentum created by photographers through their lenses, the impact of these images is also felt by the pilgrims themselves and by millions of followers on social media. Syrian pilgrim Omar Al-Kadeeb, from Deir Ezzor, said: “Photos of relatives who performed the pilgrimage in the holy sites and near the Kaaba reached my family and friends within minutes and spread widely. At that moment, we felt like we were part of their spiritual journey despite the distance.” He added: “I saw images taken of pilgrims from all nationalities, and I found myself moving emotionally through the scenes — from a father crying in prayer, to a child smiling in Arafat, to a woman raising her hands to the sky in a profoundly moving moment that cannot be described.”
Al-Kadeeb said that the professional photos shared by photographers on platforms such as X, Instagram and TikTok enhance the status of Hajj in people’s hearts and make it feel more relatable and more meaningful to the viewer — even if they are not performing Hajj themselves.
“I believe every beautiful image from Hajj is an indirect invitation for people to dream of Hajj and to realize the greatness of this immense pillar,” Al-Kadeeb said.
He concluded with high praise for the photographers: “They are not just professionals — they are messengers of peace and beauty, delivering the message in today’s universal language: a photo.”
KSrelief clinics help refugees in Jordan
AMMAN: The clinics of the King Salman Humanitarian Aid and Relief Center provided healthcare services to 2,789 patients in Zaatari camp for Syrian refugees in Jordan during the first week of May.
The general medicine clinics received 778 patients, while the internal medicine clinic treated 128 patients with diabetes, high blood pressure, and asthma.
The pediatric clinics received 226 children, 131 patients visited dental clinics, and 312 women were treated by the two women’s health clinics.
The ear, nose, and throat clinic received 66 patients suffering from sinusitis, pharyngitis, tonsillitis, and middle ear infections. The ophthalmology clinic saw 37 patients.
The cardiology clinic received 15 patients, the diagnostic radiology clinic received 37 patients, and the rehabilitation medicine clinic also treated 37 patients.
A total of 3,245 laboratory tests were conducted for 284 patients, and 217 imaging procedures, including X-ray and ultrasound examinations, were performed for 184 patients.
Shanghai Film Festival: Saudi Arabia to boost cultural cooperation with China
RIYADH: The Saudi Film Commission has announced its participation in the Shanghai International Film Festival, which will be held from June 13 to 22 in Shanghai, China.
The event is the largest film festival in China and the only Chinese festival accredited by the International Federation of Film Producers Associations.
By participating, the commission aims to enhance cultural cooperation, strengthen international ties, and promote the visual and geographic richness of the Kingdom’s film locations. It also plans to explore co-production and distribution opportunities for Saudi films in the Chinese market.
The Saudi pavilion will be a platform to display the commission’s programs and initiatives, engage with industry professionals, and highlight the creative and commercial potential of the Kingdom’s film sector.
This participation underscores the commission’s commitment to supporting the Kingdom’s film industry by engaging with key international platforms, empowering local talent, and fostering global cultural exchange.
Saudi king, crown prince extend condolences to Indian president after air crash
- The Air India passenger plane bound for London with more than 240 people on board crashed and exploded after takeoff and there was only one survivor
RIYADH: Saudi Arabia’s King Salman and Crown Prince Mohammed bin Salman extended their condolences to Indian President Droupadi Murmu after a plane crashed after takeoff in India’s northwestern city of Ahmedabad on Thursday.
The Air India passenger plane bound for London with more than 240 people on board crashed and exploded after takeoff and only one person survived, officials said.
Black smoke billowed from the site where the plane crashed into a medical college hostel and burst into flames near the airport in Ahmedabad, a city of more than 5 million and the capital of Gujarat.
In separate cables, the king and crown prince extended their condolences to Murmu, the families of the deceased, and to the Indian people. They also wished the injured a speedy recovery.
The Kingdom’s Foreign Ministry also expressed its condolences to India after the incident.
Arab storytelling tradition makes region ideal for filmmaking: Katara executive
- Demand for premium Arabic content that resonates with a global audience is the main driver for production company
- Authenticity requires cultural integrity — such as maintaining dialect, accents and costumes
Riyadh: The Arab world’s roots in detailed storytelling means that the region is well suited to making movies, according to Hussein Fakhri, chief commercial officer and executive producer for Katara Studios, and the latest guest on The Mayman Show.
Founded in 2018, the Doha-based production powerhouse is behind regionally iconic projects such as the fantasy short film “The Lost Chapter of Kelileh & Demneh” and the ceremonies for the 2022 FIFA Arab Cup.
“Storytelling, I think, is in our DNA, as Arabs generally, right? We come from a long line of storytellers; it is really part of who we are,” Fakhri said. “For me, the sort of career advancement was very much evolutionary, organic, as I come from an advertising and marketing background.”
Before entering the world of filmmaking and immersive storytelling, Hussein started out in Dublin, Ireland, pioneering digital advertising in a market far from his cultural roots. Hussein left the marketing agency life and now leads Katara’s mission to produce bold, meaningful stories that resonate with a global audience with an unapologetically Arab perspective.
“I had my own advertising agency, and we had so much work that I had to found a film production company to be able to shoot our TV commercials,” Fakhri said. “I would hire filmmakers, and we started doing short films, more brand films and documentaries, and that just sort of evolved. I just love the craft, although I’m not a filmmaker myself, but I just love the business of it.”
Part of the work was instrumental in what eventually evolved into Katara Studios, founded by a group of talented filmmakers, he said. “Watching them work and watching the kind of stuff that they do — just the love for it grew, to be honest.”
The need for premium Arabic content that resonates with a global audience is the main driver for what Katara does creatively, he said.
“We have a huge audience. We have 500 million Arabic speakers. And we have very little premium content for them. There was a gap there that was spotted and an opportunity to be able to create premium content for this primary audience.”
The demand for premium Arabic content and the interest in Arabic culture made for a great recipe for success, he said.
“We also have a lot of people around the world that are very interested in our culture, are very interested in our part of the world. And I don’t think we’ve given them enough content to engage with us, and that’s what we are trying to do, ultimately.”
With a culture as rich and layered as the Arab world’s, authenticity is not simply a goal — it is a responsibility for Katara Studios projects, he said, as they aim to bring stories to life with depth, accuracy, and heart, even when they are infused with other styles of filmmaking.
Katara Studios is producing a fantasy Bedouin Western, and according to Fakhri, a balance for this genre experimentation and cultural authenticity is critical to telling a good story and being innovative without losing its Arab essence.
Asked how Bedouin storytelling could be showcased with this approach to experimental filmmaking, Fakhri said: “You know, I’m so glad you brought up that word because authenticity is the foundation for everything that we try to do. Genuinely, it has to be authentic. Because if it is not authentic — if you’re trying to please an audience just by throwing stuff in there — it shows every time.”
Authenticity required cultural integrity — such as maintaining dialect, accents, costumes and other small and important details in the presentation — and this would then reflect very positively to the film, he said.
“You get every element of it right; it really comes through in the final product. So, we’re very careful to try to be as authentic as possible. And I think we’ve done that with this project,” Fakhri said.
