Asharq Documentary has presented itself as a specialized documentary channel originating from Saudi Arabia. It appeared to be a bold and spirited step taken by the Saudi Research and Media Group during the conference in which they announced several media renewals, as well as news, cinematic, and documentary expansions and innovations. A powerful statement resonated—one that invited reflection and a reconsideration of perspectives—when the group declared: “The voice of the Arabs now emerges from Saudi Arabia.”
This seems to be an open invitation to discuss the position Saudi Arabia is seeking to establish here and now—and how far it aims to go. In any case, the channel did not emerge without giving the group, alongside its newspapers, TV channels, and news websites, a platform capable of showcasing the documentary face of a kingdom that is both ancient and newly reborn, shaped by different ideas and visions.
The group states that, through the launch of Asharq Documentary, it aims to meet the growing demand for documentary films and programs. According to a survey conducted by the group, more than 80% of viewers in the Middle East and North Africa expressed a desire for more high-quality Arabic content. Asharq News has also aired over 400 hours of documentary films, achieving high viewership and engagement—clearly pointing to a gap in the supply of this type of content across the region.
All of this came as part of an advanced step that aligns with Saudi Arabia’s recent cultural awakening and the significant attention the state has devoted to the entertainment, artistic, and cinematic industries in general. It represents an effort to highlight the early experiences that first appeared tentatively, alongside the generous space that will later be offered to both Saudi and non-Saudi documentary filmmakers.
In general, the idea of launching a documentary channel at this particular moment appears highly significant. It comes at an ideal time, enabling competition with Al Jazeera Documentary—the oldest channel in the Arab region—specialized in presenting Arab documentaries from across the world for nearly 17 years. Alongside the recent launch of Egypt’s Al Wathaeqya Channel, these platforms and the growing regional interest in documentary cinema seem to respond to the audience’s evolving expectations in the Arab world.
The first question that arises here is this: Does the establishment of a new, specialized documentary channel merely signify Saudi Arabia’s interest in this form of artistic production, or does it suggest the need for broader and more fundamental efforts beyond simply owning a channel?
Old Idea, New Models
The idea of creating a Saudi documentary channel was neither a recent notion nor a sudden development, but rather a concept that had frequently surfaced in discussions—particularly on the sidelines of the Saudi Film Festival, one of the country’s long-standing local cinematic events. These discussions often explored how to portray the diversity of Saudi themes and contexts. From its inception, the Red Sea International Film Festival has also shown a strong commitment to offering a dedicated platform for viewing and engaging with documentary films from around the world, while featuring a considerable number of Saudi documentaries.
Alongside several notable cinematic examples we aim to highlight here, there are other films that may not seem equally significant in terms of their release moment. Although they were often judged for their artistic modesty at the time, they nonetheless represent a strength that can be built upon and further developed in future productions.
In the most recent edition of the Saudi Film Festival, the Saudi documentary (The King’s Poem - 2022) «قصيدة الملك» was screened. The film serves as an investigative account of a story that captivated the Saudi public for many years. Its central figure is the Saudi poet Haidar Al Abdulla, whose story was chosen by the “Thamanya” platform as the first film in its Jawab series, which aims to reveal the unseen sides of celebrity lives. Consequently, the film’s introductory premise assumes its subject’s fame and focuses on the darker dimension that either led to, or resulted from, that celebrity
Also featured in the latest edition of the Saudi Film Festival was the Saudi documentary (King of Journalism- 2023) «قصة ملك الصحافة», which chronicles the national biography of the Saudi writer Turki Al-Sudairi — a figure deeply rooted in the media and public memory of Saudi society. The film commemorates the man whom the late King Abdullah bin Abdulaziz honored with the title “The King of Journalism.” Directed by Hassan Saeed and written by Ali Saeed and Hassan Saeed, the documentary offers a reflective account of Al-Sudairi’s enduring influence on Saudi journalism and cultural life.
The Saudi documentary film (Memories from the North - 2022) «من ذاكرة الشمال», directed by Abdulmohsen Almutairi, was also showcased. Marking the 30th anniversary of the Gulf War (1990–1991), the film follows a group of filmmakers who had witnessed the war as children, tracing their journey across Saudi Arabia to document the stories of those who lived through its horrors and endured its lasting impact.
Pre-MBC and post-MBC
Saudi Arabia embarked on a journey that began with early enthusiasts — including pilgrims to the Kaaba and tourists — who documented various places, traditions, and customs. However, these were not professional films; rather, they were more like personal recordings made by individuals.
Over time, the situation evolved, and film production began to emerge through non-Saudi companies, such as Aramco, which produced numerous documentary films — some of which were restricted to internal viewing within the company.
There was also Arab involvement, as seen with Studio Misr, one of the most renowned production companies in the Arab world. In 1938, it played a significant role in producing films in Saudi Arabia that documented the pilgrimage to the Kaaba. The film was produced for Misr Company for Acting and Cinema, which was affiliated with Studio Misr.
This development continued with the emergence of the company “ARA,” or what we know today as the MBC network — the most prominent media outlet in Saudi Arabia. Founded in the early 1990s, part of its mission was to produce documentary films about Saudi Arabia itself.
Director Magdy Farouk mentioned that he was among those who watched these films, along with others produced later by Al Arabiya channel. These films sought to capture the features, strengths, and attractions of lesser-known regions in Saudi Arabia. Eventually, when Saudi Arabia decided to expand this type of production, it opened the door more widely for participation from the private sector.
Everyone now realizes that the documentary film industry no longer depends on the old stereotypical format. These are no longer glossy, deceptive tourist films that distort reality, as audiences today watch, compare, and engage with events more than ever before. This awareness is well understood by the Kingdom and by those leading film production in the country—foremost among them the Saudi Film Commission—which is actively working to achieve this transformation.
The genuine production of documentary cinema requires broader freedoms to portray the complexities of reality — not merely participation in international forums, but the development of this artistic industry itself to become more capable of true competition.
The most important idea behind producing documentary content is revelation and learning, for documentary cinema ultimately serves as a solid foundation for presenting real issues and crises—rather than as a space for hollow display, as might occur in other media. Without this essence, it would not truly be documentary cinema at all.
Therefore, leadership or prominence in the field of documentary production—whether media or cinematic—lies in the hands of those who possess the power to enable the creation of works that delve deeply into complex and ambiguous issues, seeking to clarify them for the audience, rather than merely providing a few broadcasting frequencies here and there.