After a 12-year career as a producer in Hollywood, Mohammed Al Turki returned to Saudi Arabia as his homeland lifted a 35-year ban on cinemas. Now the CEO of the Red Sea International Film Festival, he’s helping drive the industry forward in the Kingdom at full pace. With an audience flocking to the cinema in their droves, and filmmaking talent desperate to shine, he’s only just getting started.
After a career in Hollywood, why did you decide to return to Saudi Arabia?
This is an exciting time for the country which is providing a crucial platform for a wave of young creative talent who continue to thrive and develop their skills to bring compelling and authentic stories across a range of genres, cultures, and perspectives to the screen.
My experience in Hollywood has given me a lot of insight and it’s an honour to be in a position where we can support fellow filmmakers who are shaping the future of the filmmaking industry here in the country which is evolving at a rapid pace.
Tell us more about the initiatives that make up RSIFF – especially the Red Sea Film Fund. How does that work?
Our year-round programme follows the full cycle of filmmaking designed to support an emerging generation of young and talented creatives from the Arab world and Africa. Over the past two years, we have supported 175 films, of which we have seen titles showcased at Cannes, Venice and new titles which will be presented to audiences this December. The Red Sea Souk hosts the Project Market, which will see pitching and co-production meetings for a selection of 23 films from Arab and African Directors, in development or production, and a Showcase of six Work-In-Progress Screenings, a ‘sneak-peek’ of their forthcoming feature to an audience of accredited industry professionals that can help them reach the finish line.
Now in its Third edition The Red Sea Lodge, in partnership with TorinoFilmLab, has been hugely successful offering a 10–month creative and professional training programme for up to 12 teams of Arab directors, producers, and scriptwriters working on a feature film to receive mentorship from industry experts, support with the development of their projects and next-level opportunities.
We also launched a ‘Talent Days Programme’, now in its second year, it’s an initiation into the cinema industry for aspiring filmmakers through inspirational talks and individual meetings.
Through the Red Sea Fund, the Red Sea Lodge, and the Red Sea Souk we are constantly adapting to offer the best support both financially and creatively.
Where did your love of cinema begin?
From a young age I’ve always loved film, and started a mini video rental service in my school parking lot. I watched a lot of films spurred on by the fact that both my parents are film fanatics, my dad is a John Wayne Western fan. Omar Sharif was a role model to me, knowing he made it in Hollywood made me realise anything is possible. I admire Federico Felliniand the fountain scene in La Dolce Vita always sticks with me. I relate a lot of films to certain moments in my life. Quentin Tarantino, Martin Scorsese, Alfonso Cuarón, Christopher Nolan, Darren Aronofsky and Pedro Almodóvar are some of my favourite filmmakers along with Ramin Bahrani who I worked with on 99 Homes and At Any Price who is also a genius.
What inspires you?
Film is everything to me. That said, I’m inspired by love. I’m inspired by progress. I’m inspired by change. I’m inspired by the Saudi youth. Witnessing all the groundbreaking changes at home is truly inspiring. Reading inspires me and this quote by Theodore Roosevelt resonates with me. “It is not the critic who counts; not the man who points out how the strong man stumbles, or where the doer of deeds could have done them better. The credit belongs to the man who is actually in the arena, whose face is marred by dust and sweat and blood; who strives valiantly; who errs, who comes short again and again, because there is no effort without error and shortcoming; but who does actually strive to do the deeds; who knows great enthusiasms, the great devotions; who spends himself in a worthy cause; who at the best knows in the end the triumph of high achievement, and who at the worst, if he fails, at least fails while daring greatly, so that his place shall never be with those cold and timid souls who neither know victory nor defeat.”
How would you define the Saudi Film industry in comparison to cinema across the region?
The film industry continues to accelerate at a considerable pace and the filmmakers this year truly represent the future of filmmaking in the Kingdom. The Saudi Film industry is unique, we are young and eager to build our industry and become part of the global film industry, showcase our unique and authentic stories, and build a vibrant and successful film-friendly ecosystem to support our talent. The country is now open for productions and we are keen to welcome the international and regional industry to come explore our wealth of pristine destinations, many of which are only now being discovered by filmmakers and the world at large.
The Middle East box office is recovering faster than other global regions largely due to the boom here in Saudi which stands as the only country on the planet where since the pandemic box office returns have doubled. In 2021, the box office revenue in the Kingdom hit a high of $238 million. This is a great indicator of the appetite for film and culture here and the Red Sea Platform has a key role to play to bring local content to global screens.
Our second edition will present seven new and compelling Saudi features, two of them in our official competition, which is a true testament to the impressive filmmaking in the Kingdom. Saudi feature Valley Road, directed by written and directed by Khaled Fahd takes the prestigious spot of closing the festival and we also have an impressive slate of 18 Saudi shorts in the programme, so I would recommend festival goers to come and experience as many as local films as possible.
What advice would you offer to someone wanting to break into the industry?
My advice is to have an open mind and an open heart, to be open to constructive criticism and to always be aware that we are a work in progress, there is always room for improvement and never forget where you’re from.
You’ve been an avid supporter of Arab representation in cinema, why is that so important?
Accurate portrayal of any group in society is crucial and when there are superficial stereotypes and insufficient representation this can influence how we see others, and how we see ourselves and it can be harmful. This year the festival will present film 131 feature films and shorts from 61 countries in 41 languages,providing a window into a wealth of cultures, films presenting accurate and authentic representation can break down barriers, and educate. This is the power of a film festival and having access to films from countries that we wouldn’t ordinarily get to see at the cinema.
Production Credits
Photography: Matthieu Delbreuve
Styling: Victorie Seveno
Producer: Studio Bajek
Makeup Artist: Emilie Plume
Hair Stylist: Taan Doan
Set Design: Clara De Gobert, Nicoplinio
Set Design Assistant: Clara Dulibine
Photography Assistant: Kevin Ramos
Fashion Assistant: Eloise Roncon