Incentives for filming in Saudi Arabia announced at Cannes

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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)
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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)
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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)
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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
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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.


Sheikha Al-Mayassa talks cultural patronage at Art Basel Qatar Conversations panel

Updated 04 February 2026
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Sheikha Al-Mayassa talks cultural patronage at Art Basel Qatar Conversations panel

DOHA: Cultural leaders at the inaugural edition of Art Basel Qatar in Doha have discussed how patronage is reshaping art ecosystems, with Qatar’s own long-term cultural vision at the center.

The opening panel, “Leaders of Change: How is patronage shaping new art ecosystems?” brought together Sheikha Al-Mayassa bint Hamad bin Khalifa Al-Thani, chair of Qatar Museums, and Maja Hoffmann, founder and president of the Luma Foundation, in a discussion moderated by Hans Ulrich Obrist, artistic director of the Serpentine Galleries in London. The talk formed part of the Art Basel Conversations x Qatar Creates Talks program, coinciding with the debut of Art Basel Qatar which runs in Doha until Feb. 8.

Sheikha Al-Thani framed Qatar’s cultural project as a strategic, long-term endeavor anchored in national development. “Qatar has a national vision called 2030 where culture was one of the main pillars for socioeconomic development and human development,” she said. “We have always invested in culture as a means of human development.”

That vision, she explained, underpins the decision to welcome a major international fair like Art Basel to Doha after turning away many previous proposals.

“For the longest time, I can’t tell you how many art fairs came to us wanting to be here, and we never felt it was the right time,” she said. “However, this is an important year for us and we felt, with the surplus of talent and the growing gallery scene we had here, that it was time to bring industry to talent, because that’s how we will spur the economic diversification from hydrocarbon to a knowledge-based society.”

She was also keen to stress that Art Basel Qatar was not conceived as a conventional marketplace.

 “This is not your typical art fair … It’s a humane art fair where engagement is more important than transaction, discourse more important than division, and curiosity more important than conviction,” she added.

That ethos extends to the fair’s artistic leadership. Al-Thani described how the decision to have an artist — Wael Shawky — serve as artistic director emerged collaboratively with Art Basel’s team.

“He’s a global artist who’s now become a very local artist, very invested in our local art scene. And really, I think that’s the beauty of partnerships … There is a safe space for us to critique each other, support each other, and really brainstorm all the possibilities … and then come to a consensus of what would make sense for us,” she said.

Collecting art, she added, has long been embedded in Qatari society: “My grandmother is almost 100 years old. She was collecting in the 60s when Qatar was a very poor country. It’s in our DNA … always with this notion of investing in knowledge and human development.”

Today, that impulse translates into comprehensive, multi-disciplinary collections: “We are both collecting historical objects, contemporary objects, modern objects, architecture, archival material, anything that we feel is relevant to us and the evolution of this nation towards a knowledge-based economy.”

Looking ahead, Al-Thani outlined a new cultural triangle in Doha — the National Museum of Qatar, the Museum of Islamic Art and the forthcoming Art Mill Museum — as engines for both economic diversification and intellectual life.

 “That ecosystem will enhance the economic growth and diversification, but also the knowledge that’s available, because the diversity in the collections between these three institutions will no doubt inspire young people, amateurs, entrepreneurs to think outside the box and inform their next business,” she said.

The panel closed with a focus on the future of large-scale exhibitions with Rubaiya, Qatar’s new quadrennial, timed to coincide with the anniversary of the 2022 World Cup.

“Every four years in memory of the opening of the World Cup, we will open the quadrennial. This year, the theme is ‘Unruly Waters.’ At the center of the theme is Qatar’s trading route to the Silk Road,” explained Al-Thani.

“It’s important for us to trace our past and claim it and share it to the rest of the world, but also show the connectivity that Qatar had historically and the important role it has been playing in diplomacy.”