Saudi cinema shines at Toronto International Film Festival with three participating films

Attendees showed interest in – and were impressed by – what Saudi had to offer. Al Majalla met with the directors behind the films to discuss their global world premieres.

Behind the scenes of Saudi film 'Hajjan', which had its world premiere at the Toronto International Film Festival.
Behind the scenes of Saudi film 'Hajjan', which had its world premiere at the Toronto International Film Festival.

Saudi cinema shines at Toronto International Film Festival with three participating films

Saudi cinema is still young, having emerged only five years ago. Since then, several directors and filmmakers have set out on ambitious projects to improve the quality of local cinema – both at home and worldwide.

Saudi’s participation in international film festivals is a testament to its growing involvement in the industry. The ongoing Toronto International Film Festival (TIFF), held from 7 to 17 September 2023, was the latest opportunity to highlight and test Saudi cinema.

The festival’s Discovery programme – dedicated to identifying distinguished debut and sophomore films from promising global directors – has featured three Saudi titles this year: Mandoob by Ali Alkalthami, Hajjan by Abu Bakr Shawqi, and Naga by Meshal Aljaser.

Read more: Alaa Faden: Telling Saudi stories is key to global success

This year, the festival's Discovery programme has featured three Saudi titles: Mandoob by Ali Alkalthami, Hajjan by Abu Bakr Shawqi, and Naga by Meshal Aljaser.

Saudi cinematic institutions are also taking part in TIFF. The Saudi Film Commission has its own pavilion at the festival, screening a few of the most significant Saudi titles. The Red Sea International Film Festival, King Abdulaziz Centre for World Culture (Ithra), and the Saudi Film Festival are also present.

Telling Saudi stories

Alkalthami's film Mandoob Al-Lail (or 'Mandoob'/'Night Courier' in English) follows lonely delivery driver Fahad, struggling to make ends meet in Riyadh while caring for his sick father.

Read more: Night Courier: A dark character study about class divide and hustle culture

"Based on my perspective, when I was producing Mandoob, my first feature-length drama, my main concern was how to make it appealing to Saudi viewers," he told Al Majalla.

"However, now that we're taking part in TIFF, my thought process grew to include how international audiences would react to it," he added.

At TIFF, he could feel "exactly what the impact of cinematography means on an international level."

"I watched the viewers as they responded intensely to my film and its protagonist, Fahad Algadhani and the challenges he had to face," he said.

"The viewers also reacted quite a bit to Sara, another character in the film, and her attempts to guarantee the success of her personal project."

"The discussions that followed each film screening focused on the genuine motivations of Fahad, and how realistic the film's plot was. Some viewers asked me about the city of Riyadh and whether it was represented authentically in the film."

The discussions that followed each film screening focused on how realistic the film's plot was. Some viewers asked me about the city of Riyadh and whether it was represented authentically in the film.

Ali Alkalthami, film director

The most memorable question he received, however, was from a viewer who "wondered if the cats that passed through in some of the scenes symbolised the fleeting nature of life."

Alkalthami felt that the participation of three Saudi films in TIFF was a move in the right direction.

"This participation enabled us to display at least a small part of our own stories amid an abundance of films from across the world. It's proof of the global language of cinema," he said.

"Films can speak to people from all backgrounds. It appeals to them by depicting a story in a unique artistic style, even in a language they don't understand."

From the desert to the world

Meanwhile, Hajjan director Shawqi referred to the participation of the Kingdom in the global festival as "a historical moment for Saudi cinema."

"It's rare to have three Saudi films presented during an international festival like TIFF. All in all, our participation has revealed promising up-and-coming filmmakers, actors, and actresses. It's also proven the openness of Saudi cinematographers to the world" he said.

His film Hajjan, shot in the Arabian desert, revolves around ancient traditional folktales told by Bedouins who would race against the wind on fast camels. To him, it was a way to share a small part of local culture with viewers.

Shawqi said they had to film the camel races in areas that were "very hard to reach." They were able to elevate the storytelling through this "mysterious environment laden with folktales."

Keeping it real

For Alkalthami and co-writer and actor, Ali Alqaran, it was important to keep the dialogue realistic. They also wanted to ensure the backdrop of the film felt authentic.

"In pre-production, we focused on depicting well-known districts of Riyadh to add credibility to the story. A production unit roamed most of the city's neighbourhoods before the film began shooting to see how these streets looked through a camera lens," he said. They could then choose the right streets based on each scene or character.

He added that seasoned actor Muhammad Altwayan, who played Naser, "was keen on reading the entire script and discussing every detail related to his character that could resonate with viewers."

"He did his best to make sure his return to cinema was as impressive and rich as his track record. His presence in the film added huge value, given his deep experience and wisdom, which kept everyone calm during filming."

Mother Nature's challenges

Meanwhile, on the unusual film set, Shawqi encountered first-hand how unpredictable mother nature can be. He had to contend with inevitable technical difficulties.

"We shot a few scenes so deep inside the desert; these spots have hardly ever been documented on camera," he said.

"We faced two challenges. First, documenting the desert, and second, successfully depicting the races. We tried to shoot each of the four race scenes in an engaging way that would bring the audience into the fold," he added.

We faced two challenges. First, documenting the desert, and second, successfully depicting the races. We tried to shoot each of the four race scenes in an engaging way that would bring the audience into the fold.

Abu Bakr Shawqi, director of 'Hajjan'

But it was no easy feat to give camel racing a cinematic flair.

"We had to use three cameras simultaneously, and we shot over the course of several days to make sure that the film crew and the camels weren't exhausted," he said. The shoots took place in winter and lasted eight hours a day, on average.

"The whole experience was demanding for the entire crew, but the final outcome was absolutely worth it," he said.

The filmmaker also expressed his gratitude to the King Abdulaziz Center for World Culture (Ithra) for their cooperation.

"We had a joint desire to produce an ambitious film representing an Arab perspective that could reach people's hearts and minds worldwide. Ithra has proven itself as a very generous sponsor of both Saudi and Arab filmmakers, and my joint experience with them was really successful," he said.

Reactions at home

While Alkalthami is "thrilled" by the positive reaction Mandoob received at TIFF, he's eager to see what the response will be once it's released in cinemas in the Kingdom later this year, calling it "the moment of truth for our local legacy."

"I did my best to depict my native city of Riyadh uniquely and differently. The director of photography, Ahmad Tahun, and I focused on showing the strong character of Riyadh, stubborn and unaffected by anyone's opinion," he said.

Tahun used "traditional" lenses to bring out the city's sharp character, which was "also meant to intensify the loneliness Fahad is experiencing as he roams its streets at night, indirectly exploring its hidden gems."

For fellow Saudi director Shawqi, the future of cinema at home seems brighter than ever.

"We are witnessing the emergence of promising local cinematographers. Many of them are creative Saudis with ambitious ideas that they want to realise through this sector," he said.

As for Alkalthami, he believes this growth has been a long time coming.

Getty Images

"Even before the latest revival of cinemas in Saudi Arabia, Saudi audiences were already well-versed in cinematic production," he said.

"However, there is no doubt that the tremendous progress witnessed during the last five years made it possible to develop cinematic productions and narratives that represent our culture."

Mandoob is set to release in Saudi and Arab cinemas by December 2023, while Hajjan is tentatively set to release in early 2024.

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