Saudi filmmakers highlight vital mental health issues on-screen

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The Bottle. (Supplied)
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Jameel Jeddan. (Supplied)
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Updated 22 September 2022
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Saudi filmmakers highlight vital mental health issues on-screen

  • ‘Jameel Jeddan’ and ‘Lithium’ shatter taboos with laughs, empathy
  • 1 in 3 adults in Kingdom diagnosed with a disorder in their lifetime

RIYADH: Mental health is still often considered a taboo subject in the region and across the world, with explanations ranging from the superstitious to the criminal, but it is now being highlighted and normalized by Saudi filmmakers with their movies and television shows.

In her most recent work, Saudi writer, director, and actress Sarah Taibah packs a collection of laughs, empathy, and thought-provoking elements into the TV series “Jameel Jeddan.” The show is a coming-of-age story that takes viewers on a journey of love, trauma, and loss, to ultimately accepting reality, alongside quirky anime references and challenging of stigmas.

Taibah plays the main character, Jameel, who wakes up from a five-year coma and is forced to finish her last year at high school, rejoining a society with which she no longer identifies. As a coping mechanism, she begins to form an animated alternative reality.

“I think mental health is a very private experience that one battles with on a daily basis, secretly, without necessarily sharing it,” Taibah told Arab News.

She believes it’s important for films and shows to feature protagonists struggling with mental health issues — “something very relatable yet misunderstood in society.”

What Taibah and fellow filmmaker and director of the show, Anas BaTahaf, do is present the story — and mental health issues — in a palatable way for mass audiences. Saudi viewers often respond well to comedy or action, perhaps explaining why Saudi cinema often lacks sensitive stories.

In Saudi, about one in three adults have experienced a diagnosable mental disorder during their lifetime, according to the Saudi National Health & Stress Survey. Awareness is often the first step in both helping people understand they need help, and in offering help to those who need it.

According to a recent study by the British Board of Film Classification of young people between the ages of 13 and 18, 78 percent believe that film and TV play an integral role in spreading awareness about mental health issues. In addition, 68 percent said that positive portrayals in entertainment media can help destigmatize these issues.

Another example is that of the upcoming Saudi feature film “Lithium,” which centers around individuals living with bipolar disorder, suffering silently in society. The film aims to present the condition in a positive and honest manner.

The film won support at the Red Sea Fund last month, which aims to provide a more diverse set of movies to global audiences and better serve both Saudi and Arab filmmakers.

“Mental health is still considered a taboo (subject) around the world. These misconceptions should be fixed as some movies tend to show mentally ill people as violent or dangerous to society. More awareness should be maximized around mass media channels and especially among social media influencers,” Talha B., the film’s co-director, told Arab News.

Whether mental health disorders are the main plot driver or incorporated into minor plotlines, they can aid in understanding the psychology and nature of these conditions, creating a community driven by compassion and empathy, he said.

“Everyone suffering from mental illness deserves a chance to be an active member of our society. We believe stories can help break down difficult subject matters like the importance of mental health. Telling stories like ours can help the medicine go down, so to speak,” he added.

Globally, several movies and shows depict mental health issues with recent work including “The Queen’s Gambit,” “BoJack Horseman,” and “Atypical.” However, such work is a rarity in the region.

Still, many Saudi creators acknowledge the need to spotlight mental health on-screen in order to create a greater impact through cultural scenarios that resonate with the Saudi public.

“Nowadays, there is a great need for screening short movies that discuss mental health issues. People need to watch these kinds of movies to understand that all mental issues start within. If the target audience were educated enough about the subject, then they can deal with the problem,” Dr. Mohamed Sobaih, co-director of the stop-motion animation “The Bottle,” told Arab News.

The short animation, initially produced by cinematic arts students at Effat University, examines the life of a man living in a constant loop of his deepest fears, haunted by his worst anxieties.

“The film started out as a final project for a course taught for Cinematic Arts students in Effat University. Us, the batch who made this film, wanted to make something really unique when we decided that the story should focus on what it’s like to suffer from mental health diseases,” said co-director Hadeel Moharram.

The short film was later remade based on feedback from viewers and was screened at the Saudi Film Festival in 2021, where it received rave reviews from audiences who acknowledged the need for seeing such narratives on-screen.

“People came to us after the screening expressing their emotions after watching the film — how they saw pieces of themselves in it and their loved ones. It’s a film after all, and films are for people, and what better way to express ourselves and tell stories other than this form of art,” Moharram said.

Haya Al-Hejailan, a Saudi well-being practitioner and psychedelic integration specialist, recently worked on the documentary “The Psychedelic Renaissance,” which follows the global developments in the field of psychedelic science, medicine, and culture since 2018.

The film, now seeking its final stage of funding, platforms top researchers and figures in the field and highlights two of the most popular psychedelic therapy treatments for depression, post-traumatic stress disorder, and substance dependence. It aims to destigmatize mental health conversations and educate the masses on alternative treatments.

“It raises awareness through psychoeducation, which empowers people to help themselves and help others. The media is a powerful tool for reaching a wide audience and talking about difficult topics in a manner that is digestible and resonant,” Al-Hejailan told Arab News.

She added: “Media representation reminds people suffering that they are not alone and that their suffering is valid — as valid as physical ailments — and it instills hope in people by showing them that this is a part of the human condition and can be effectively addressed and treated through a number of different avenues.”


To infinity and beyond: Grendizer’s 50 years of inspiring Arabs

Updated 27 December 2025
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To infinity and beyond: Grendizer’s 50 years of inspiring Arabs

  • ⁠ ⁠50 years after its creation, the Grendizer anime series continues to capture Arab imagination
  • ⁠ ⁠⁠Arab News Japan speaks to creator Go Nagai, Middle Eastern fans and retells the story behind the UFO Robot tasked with protecting our planet

LONDON: Few cultural imports have crossed borders as unexpectedly, or as powerfully, as Grendizer, the Japanese giant robot that half a century ago became a childhood hero across the Arab world, nowhere more so than in Saudi Arabia.

Created in Japan in the mid-1970s by manga artist Go Nagai, Grendizer was part of the “mecha” tradition of giant robots. The genre was shaped by Japan’s experience during the Second World War, and explored themes of invasion, resistance and loss through the medium of science fiction.

But while the series enjoyed moderate success in Japan, its true legacy was established thousands of kilometers away in the Middle East.

By the early 1980s, “Grendizer” had spread across the Middle East, inspiring fandoms in Saudi Arabia, Kuwait, Iraq and beyond. (Supplied)

The anime “UFO Robot Grendizer” arrived on television in the region in 1979, dubbed into Arabic and initially broadcast in Lebanon during the Lebanese civil war. The story it told of the heroic Duke Fleed, a displaced prince whose planet had been destroyed by alien invaders, struck a chord with children growing up amid regional conflict and occupation by Israel.

Its themes of defending one’s homeland, standing up to aggression and protecting the innocent were painfully relevant in the region, transforming the series from mere entertainment into a kind of emotional refuge.

Much of the show’s impact came from its successful Arabization. The powerful Arabic dubbing and emotionally charged voice-acting, especially by Lebanese actor Jihad El-Atrash as Duke Fleed, lent the show a moral gravity unmatched by other cartoons of the era.

While the series enjoyed moderate success in Japan, its true legacy was established thousands of kilometers away in the Middle East. (Supplied)

The theme song for the series, performed by Sami Clark, became an anthem that the Lebanese singer continued to perform at concerts and festivals right up until his death in 2022.

By the early 1980s, “Grendizer” had spread across the Middle East, inspiring fandoms in Saudi Arabia, Kuwait, Iraq and beyond. For many, it was not only their first exposure to anime, it also delivered lessons on values such as justice and honor.

Grendizer was so influential in the region that it became the subject of scholarly research, which in addition to recognizing the ways in which the plight of the show’s characters resonated with the audience in the Middle East, also linked the show’s popularity to generational memories of displacement, particularly the Palestinian Nakba.

By the early 1980s, “Grendizer” had spread across the Middle East, inspiring fandoms in Saudi Arabia, Kuwait, Iraq and beyond. (Supplied)

Half a century later, “Grendizer” remains culturally alive and relevant in the region. In Saudi Arabia, which embraced the original version of the show wholeheartedly, Manga Productions is now introducing a new generation of fans to a modernized version of the character, through a video game, The Feast of The Wolves, which is available in Arabic and eight other languages on platforms including PlayStation, Xbox and Nintendo Switch, and a new Arabic-language anime series, “Grendizer U,” which was broadcast last year.

Fifty years after the debut of the show, “Grendizer” is back — although to a generation of fans of the original series, their shelves still full of merchandise and memorabilia, it never really went away.

 

Grendizer at 50
The anime that conquered Arab hearts and minds
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