Arab Filmmakers Focus on Young Audiences

When attempting to break into a nascent film industry, many filmmakers place their bets in tried and tested formats. Family dramas, romantic comedies, action thrillers. But, in the Arab region, where countries like Saudi Arabia, Kuwait and the United Arab Emirates are still taking their first steps into building a robust film industry, filmmakers are tapping into highly connected, media-driven young audiences with their films.

Ahead of the 11th edition of the Sharjah Intl. Film Festival for Children and Youth, taking place between Oct. 6 and 12 in the UAE, three filmmakers spoke with Variety about the importance of specialized festivals in the region and the challenges that still lie ahead when it comes to making films for children and young audiences in an Arab world that is becoming increasingly Westernized.

“Yes, there is a gap in the market for youth-focused films in the region,” said Mariam Al Awadhi, whose latest film “Umm Salama the Matchmaker” will have its world premiere in Sharjah. “Young people crave authentic narratives that reflect their own experiences. While there are some productions aimed at this demographic, they often lack authenticity in storytelling and representation. By investing in youth-centric films, filmmakers can also foster a deeper connection and understanding within the community.”

Ahmed Alkhudari, whose “Amakor” follows an influencer recovering from an accident that leads to memory loss, agrees that young audiences in the Arab world are hungry for content. He is, however, quick to emphasize how local filmmakers stand at a disadvantage in a world where kids and teenagers have such an easy and broad access to films and television made in Europe and the U.S.

“Young audiences have access to Netflix, Prime Video and the world on their phones. They are comparing our films to ‘Bad Boys for Life’ and ‘Top Gun: Maverick.’ This is too much pressure. They are comparing us to United States budgets, expecting Hollywood films… We want to give audiences entertainment without budget and without freedom of speech. This is an unfair fight.”

“The newer generations like international films more than Arab movies,” Alkhudari continued. “They like English-speaking films. If they go to see ‘Inside Out’ in a cinema, they want to see it in English, not even dubbed in Arabic. So filmmakers have begun thinking: do we need to make our films in English? Do you see the dimension of the conflict we are facing? We are now at the point where we are thinking of changing the language of our films.”

For British-Palestinian director Farah Nabulsi, who was Oscar-nominated for the 2020 short film “The Present,” crafting stories that resonate with her heritage and the country she came from is one of the main reasons behind her desire to be a filmmaker. In “The Teacher,” Nabulsi explores this clash between two cultures through the story of a Palestinian teacher (Saleh Bakri) who struggles to juggle his political resistance with a budding relationship with a British volunteer played by Imogen Poots.

“I think it’s important that younger people have role models they respect and admire, and not just the work they are doing but their underlying additional motivations. I make films in Palestine about a subject that has been going on for decades but it is very timely right now in this ongoing death and destruction that has rained upon Gaza. So the fact that I am a filmmaker who is interested in making films that have depth, meaning and that matter in the global arena is also an important element of being a role model.”

Speaking about traveling with “The Teacher,” Nabulsi highlights how important it is for her as a director to make herself available to younger audiences. “Whenever something involves youth or students, I always try to be involved if I can. If I’m invited to speak to students at a university, I try my best to fit that in. Sharjah is an interesting festival to me in terms of its target audience, same with Ajyal Film Festival in Doha.”

“Currently, young talents have the opportunity to learn the skills needed to create content with Arab Film Studio programs, which are part of the Creative Media Authority in Abu Dhabi,” said Al Awadhi when asked about opportunities available to convert young audiences into the filmmakers of the future. “AFS not only offers training in scriptwriting, narrative and documentary filmmaking or even directing for commercials – but also the opportunity to access the wider creative industry in Abu Dhabi including work experience on international productions.”

“We are lucky, for two reasons: the cinema tools are getting so cheap and the knowledge is also there,” added Alkhudari. “I graduated from YouTube. I am originally an engineer but I learned so much about cinema from playing with it. This wouldn’t have happened a couple of decades ago.”

As for the future, Al Awadhi would love to “see more Emirati films that authentically represent our stories, emotions, and challenges. There are so many layers to our community that deserve to be showcased on a global stage. We have a wealth of talented individuals here, capable of creating exceptional work,” while Alkhudari would like major global streamers to “treat us equally as they do Westerners, money-wise.”

“With the money, we’ll be able to offer them a better product. It will give us the freedom to express ourselves. The government’s restrictions are too much. They would approve certain things for Western horror films but those same things wouldn’t be approved for Kuwaiti films. They don’t have equal measures. If the [streaming] platforms treated us equally money-wise, we could go to them directly. We’d be able to produce more and produce better.”

“It makes me very happy to think I can inspire and motivate younger filmmakers. But I want to inspire young people even if they don’t want to be filmmakers — that’s really rewarding for me and fills my cup,” concluded Nabusi, whose “The Teacher” arrives on Netflix MENA on Oct. 10.