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Global Resonance of Arabic Productions: Challenges and Opportunities

How do Arabic productions achieve global appeal while preserving their cultural essence? What hurdles do they face in monetizing content outside Arab markets? Industry experts convened at the BroadcastPro Summit last month to explore the evolution of Arabic content and the new genres and trends that are captivating audiences.

The Arab entertainment industry, rich in stories, talent, and expertise, spans a vast geographical area, allowing locally produced content to gain international traction. The surge in Arabic content creation in the MENA region reflects changing audience preferences and the growing influence of entertainment. As Arab television and cinema move away from clichéd narratives, the question arises: are they prepared to compete on a global scale? Are local stories ready to take flight?

The panel, moderated by Heba Korayem, founder of Co-Production Salon, included industry leaders such as Adil Adam Memon, Executive VP of Content and Marketing at Zee Entertainment Middle East; Darine Khatib, Vice President of Film Productions at Majid Al Futtaim; Hussein Fakhri, Chief Commercial Officer and Executive Producer at Katara Studios; Manoj Mathew, Director of Dubai Studios at Dubai Media; and Suzy Karajian, Executive Director of Active Media.

Korayem expressed her desire to delve into the future of storytelling and investment in Arabic entertainment, highlighting the success of Bollywood and Turkish dramas, which generate over $5 billion annually. Arabic productions are now emerging with original narratives that are gaining attention.

“Our stories are authentic, and we cleverly adapt Western titles,” stated Suzy Karajian. “From story development to production quality, we take immense pride in our work.” Traditional content was often tailored for local audiences, but many narratives are now evolving to appeal to a broader international market.

“It was just waiting for someone to showcase it globally,” noted Manoj Mathew. “We are at a Renaissance point, exploring and experimenting.” Hussein Fakhri agreed, stating that the production landscape is entering a golden age characterized by collaboration and a pan-Arab spirit.

These collaborations enhance reach and quality, allowing Arabic stories to be recognized as centers of excellence. Darine Khatib emphasized that international partnerships enable content creators to access global streaming platforms, expanding their audience and increasing production budgets.

This new wave of talent is transforming the ecosystem, with Arabic films and series now competing on the international stage and gaining recognition at global festivals. “We are no longer a niche content provider,” Khatib asserted.

Just as Bollywood, Turkish, and South Korean productions have carved out their niches, Arabic scriptwriters must create stories that resonate with wider audiences. However, international investors are not yet looking to the Middle East for content, a situation that needs to change, according to Adil Adam Memon. “Having invested in this space for eight years, we recognize the region’s potential. While we may not have reached the pinnacle of production and scriptwriting, we are learning,” he said.

In the content industry, products are typically designed for both export and local consumption. However, the dynamics of content creation can be contradictory. Expanding narratives beyond traditional audiences presents both challenges and opportunities. Memon emphasized the need to think beyond the conventional 30-episode format typically associated with Ramadan, advocating for more diverse storytelling.

Content creation is fundamentally about connecting with audiences through relatable stories. The prospects for MENA content look promising, as evidenced by Egypt’s submission for the 2024 Academy Awards, “Voy! Voy! Voy!”, which garnered significant international attention. Khatib noted that the film’s production values allowed it to transcend local narratives and achieve global success.

“We focused on portraying true events with the best crew possible, without initially considering the Western audience,” Khatib explained. “At Vox Studios, we believe in attracting our core audience first; if done right, the ripple effect will follow.”

For content to resonate, it must maintain its authenticity—reflecting culture, society, and tradition. “It should primarily cater to our Arab-speaking audience,” Fakhri stated. “With 500 million Arabic speakers globally, we should focus on creating content for them. If it’s well-crafted and infused with passion, it will naturally find appreciation elsewhere.”

International markets do not solely refer to the West; there are secondary markets in Europe, Russia, and China that may connect more deeply with regional content. Memon highlighted the importance of investment and strategic planning for successful international outreach, citing the Turkish investment in Urdu content as a successful model.

Data-driven insights can help shape plots that resonate with both local and international viewers, but an overly formulaic approach can stifle creativity. “I encourage scriptwriters to explore stories that have been rejected,” Mathew remarked, citing the international success of “Money Heist” despite its initial failure in Spain.

From an investment perspective, backing a successful format ensures a return on investment. Korayem questioned whether stories need to appeal to GCC audiences before reaching other Arabic markets. Karajian responded, “We have moved beyond the stereotypical Arabic drama mold. Today, we compete with the best in technology and production quality. If the content is engaging, it will attract international attention.”

Despite the growing opportunities, Arabic productions often lack the necessary buzz. Issues like poor title translations and inadequate marketing strategies hinder their global reach. Khatib pointed out that in the West, marketing campaigns are integrated with story development, whereas in the Arab region, marketing often comes as an afterthought.

“We need to change that,” Khatib insisted. “At Vox, we are working to ensure that marketing strategies are developed alongside the content.” Fakhri added that incorporating music and brand placement into the development process can enhance cross-selling and promotion.

However, the focus on Ramadan-centric series complicates marketing efforts, as many channels prioritize established formats. Karajian noted that with over 250 titles competing during Ramadan, even clever marketing can get lost in the noise.

Emerging trends, particularly driven by Saudi Arabia, include anime and unscripted entertainment, alongside traditional genres like drama and comedy. Fakhri predicted that new genres will continue to emerge, including a Bedouin Western fantasy and Islamic science fiction adaptations.

With Dubai’s recent five-year partnership with the International Emmy Awards, the content industry is poised for increased international exposure. “This partnership is crucial for showcasing our talent on a global stage,” Mathew stated, highlighting upcoming initiatives aimed at promoting Arabic content in Hollywood.

Generating interest at global festivals is essential for creating opportunities and understanding international audience preferences. Collaborations can enhance progress by providing creative and technical support while mitigating risks in distribution and funding.

As the Arabic content landscape evolves, it is vital to remain true to its cultural roots, as the essence of any content lies in its story, which ultimately gives it the potential to soar.

Person

Heba Korayem, Adil Adam Memon, Darine Khatib, Hussein Fakhri, Manoj Mathew, Suzy Karajian

Company Names

Zee Entertainment Middle East, Majid Al Futtaim, Katara Studios, Dubai Media, Active Media, Vox Studios, Netflix

Titles

Voy! Voy! Voy!, Money Heist, Oppenheimer, Barbie, Heeramandi, Bedouin Western fantasy

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