Saudi Arabia banned film for 35 years. The Red Sea festival is just one sign of the industry's rise

JEDDAH, Saudi Arabia (AP) — “My Driver and I” was supposed to be made in 2016, but was scuttled amid Saudi Arabia's decades-long cinema ban. Eight years later, the landscape for film in the kingdom looks much different — and the star of “My Driver and I” now has an award.

Roula Dakheelallah was named the winner of the Chopard Emerging Saudi Talent award at the Red Sea International Film Festival on Thursday. The award — and the glitzy festival itself — is a sign of Saudi Arabia's commitment to shaping a new film industry.

“My heart is attached to cinema and art; I have always dreamed of a moment like this,” Dakheelallah, who still works a 9-5 job, told The Associated Press before the awards ceremony. “I used to work in voluntary films and help my friends in the field, but this is my first big role in a film.”

The reopening of cinemas in 2018 marked a cultural turning point for Saudi Arabia, an absolute monarchy that had instituted the ban 35 years before, under the influence of ultraconservative religious authorities. It has since invested heavily in a native film industry by building theaters and launching programs to support local filmmakers through grants and training.

The Red Sea International Film Festival was launched just a year later, part of an attempt to expand Saudi influence into films, gaming, sports and other cultural fields. Activists have decried the investments as whitewashing the kingdom’s human rights record as it tightly controls speech and remains one of the world’s top executioners. With FIFA awarding the 2034 World Cup to Saudi Arabia this week, Lina al-Hathloul, a Saudi activist with the London-based rights group ALQST, said Crown Prince Mohammad bin Salman “has really managed to create this bubble where people only see entertainment and they don’t see the reality on the ground.”

These efforts are part of Vision 2030, an ambitious reform plan unveiled in 2016 to ease the economy's dependence on oil. As part of it, Saudi Arabia plans to construct 350 cinemas with over 2,500 movie screens — by this past April, across 22 cities, it already had 66 cinemas showing movies from the local film industry, as well as Hollywood and Bollywood. (The Red Sea International Film Festival attracts a host of talent from the latter industries, with Viola Davis and Priyanka Chopra Jonas also picking up awards Thursday.)

The country's General Entertainment Authority last month opened Al Hisn Studios on the outskirts of Riyadh. As one of the largest such production hubs in the Middle East, it not only includes several film studios but also a production village with workshops for carpentry, blacksmithing and fashion tailoring.

“These facilities, when they exist, will stimulate filmmakers,” said Saudi actor Mohammed Elshehri. “Today, no writer or director has an excuse to imagine and say, ‘I cannot implement my imagination.’”

The facilities are one part of the equation — the content itself is another. One of the major players in transforming Saudi filmmaking has been Telfaz11, a media company founded in 2011 that began as a YouTube channel and quickly became a trailblazer. Producing high-quality digital content such as short films, comedy sketches and series, Telfaz11 offered fresh perspectives on Saudi and regional issues.

In 2020, Telfaz11 signed a partnership with Netflix to produce original content for the streaming giant. The result has been movies that demonstrate an evolution on the storytelling level, tackling topics that were once off-limits and sensitive to the public like secret nightlife in “Mandoob” (“Night Courier”) and changing social norms in “Naga.”

“I think we tell our stories in a very simple way, and that’s what reaches the world,” Elshehri says of the changing shift. “When you tell your story in a natural way without any affectation, it will reach every person.”

But the films were not without their critics, drawing mixed reaction. Social media discoursed ranged from pleasure that Saudi film were tackling such topics to anger over how the films reflected conservative society.

As Hana Al-Omair, a Saudi writer and director, points out, there are still many stories left untold.

“We certainly have a long time ahead of us before we can tell the Saudi narrative as it should be,” she said, acknowledging that there are still barriers and rampant censorship. “The Goat Life,” a Malayalam-language movie about an Indian man forced to work without pay in Saudi Arabia, is not available on Netflix's platform in the country. Movies that explore political topics or LGBTQ+ stories are essentially out of the question.

Even “My Driver and I,” featured at the Red Sea festival alongside 11 other Saudi feature-length films, was initially too controversial. It centers on a Sudanese man in Jeddah, living away from his own daughter, who feels responsible for the girl he drives as her parents are absent. It was initially blocked from being made because of the relationship between the girl and the driver, filmmaker Ahd Kamel has said, even though it's not a romantic relationship.

Now in 2024, the film is a success story — a symbol of the Saudi film industry's evolution as well as the growing role of women like Kamel behind the camera and Dakheelallah in front of it.

“I see the change in Saudi cinema, a very beautiful change and it is moving at a wonderful speed. In my opinion, we do not need to rush,” Dakheelallah said. “We need to guide the truth of the artistic movement that is happening in Saudi Arabia.”

The Red Sea International Film Festival venue, located in Jeddah, Saudi Arabia, Dec. 7, 2024. The festival continues to showcase films from around the world, emphasizing Saudi talent and regional storytelling. (AP Photo/Baraa Anwer) •

Roula Dakheelallah and Mustafa Shehata pose for a photo during an interview with The Associated Press at the Red Sea International Film Festival in Jeddah, Saudi Arabia, Dec. 7, 2024. Both actors star in My Driver and I, a film exploring cultural and personal connections. (AP Photo/Baraa Anwer) •

A view of the red carpet at the Red Sea International Film Festival in Jeddah, Saudi Arabia, Dec. 6, 2024. The festival highlights global and regional talent as part of Saudi Arabia’s growing cinema industry. (AP Photo/Baraa Anwer) •

Visitors walk past the information desk at the Red Sea International Film Festival in Jeddah, Saudi Arabia, Thursday, Dec. 5, 2024. (AP Photo/Baraa Anwer)

A view of the Red Sea International Film Festival banner displayed in Jeddah, Saudi Arabia, Thursday, Dec. 5, 2024. (AP Photo/Baraa Anwer)

VATICAN CITY (AP) — Pope Leo XIV made a historic apology on Monday for the Holy See's role in legitimizing slavery and for having failed to condemn it for centuries, calling the Vatican’s record a “wound in Christian memory.”

Past popes have apologized for Christians’ involvement in the trans-Atlantic slave trade. But no pope had ever publicly acknowledged, much less apologized for, the role that past popes played in giving European sovereigns explicit authority to subjugate and enslave “infidels.”

History’s first U.S.-born pope, whose family history includes both enslaved people and slave owners, delivered the apology in his first encyclical, “Magnifica Humanitas,” (Magnificent Humanity), which was released Monday.

The sweeping manifesto is about safeguarding humanity in an era of increasing reliance on artificial intelligence. Leo raised the slave trade in relation to what he called the new forms of slavery and colonialism that the digital revolution is fueling.

Black American Catholics, activists and scholars have long called for the Holy See to atone for its role in the colonial-era trade in human beings, beyond generic apologies for the involvement of individual Christians.

“It is impossible not to feel deep sorrow when contemplating the immense suffering and humiliation endured by so many in stark contrast to their immeasurable dignity as persons infinitely loved by the Lord,” Leo wrote. “For this, in the name of the church, I sincerely ask for pardon.”

Shannen Dee Williams, historian at the University of Dayton and author of the 2022 history of American Black Catholic nuns, “Subversive Habits,” welcomed the apology as a "monumental step toward the kind of essential truth-telling and reparation that many Catholics have prayed and worked to witness.”

“The Catholic Church has never been an innocent bystander in the history of white supremacy," said Williams. “Black Catholics have waited a long time to hear the Vatican speak honestly about the church’s leading roles in the trans-Atlantic slave trade and chattel slavery--and thus by extension the enduring systems of anti-Black racism in the world today.”

The Vatican has insisted that it always upheld the dignity of all human beings as children of God. But a series of 15th-century directives from the Vatican authorized Portuguese sovereigns to conquer Africa and the Americas and enslave non-Christians.

In 1452, for example, Pope Nicholas V issued the papal bull Dum Diversas, which gave the Portuguese king and his successors the right “to invade, conquer, fight and subjugate” and take all possessions — including land — of “Saracens, and pagans, and other infidels, and enemies of the name of Christ” anywhere.

The bull also gave the Portuguese permission “to reduce their persons to perpetual slavery.”

That bull and another issued three years later, Romanus Pontifex, formed the basis of the Doctrine of Discovery, the theory that legitimized the colonial-era seizure of land in Africa and the Americas.

Nicholas V’s permissions to the Portuguese were confirmed or renewed by Pope Callixtus III in 1456, Pope Sixtus IV in 1481 and Pope Leo X in 1514, according to the Rev. Christopher J. Kellerman, a Jesuit priest and author of “All Oppression Shall Cease: A History of Slavery, Abolitionism, and the Catholic Church.”

Spanish kings received the rights for the Americas.

In 2023, the Vatican formally repudiated the Doctrine of Discovery, but it never formally rescinded, abrogated or rejected the bulls themselves. The Vatican insists that a later bull, Sublimis Deus in 1537, reaffirmed that Indigenous peoples shouldn’t be deprived of their liberty or the possession of their property, and weren't to be enslaved.

In his encyclical, Leo recalled that his namesake, Pope Leo XIII, was the first pope to explicitly condemn slavery in 1888, long after many countries had abolished it. Before that, in antiquity and the Middle Ages, church institutions and even popes — Gregory the Great — had slaves, Kellerman said.

In acknowledging the 15th century papal bulls, Leo wrote in his encyclical: “Already in the early modern period, the Apostolic See of Rome, responding to the requests of sovereigns, intervened several times in order to regulate and legitimize forms of subjugation, and, in certain cases, including the enslavement of ‘infidels.’”

Leo said it wasn't possible to judge the morality of the decisions with today’s standards.

“Yet neither can we deny or diminish the delay with which both society and the church came to denounce the scourge of slavery,” he said.

The pope said that the church has long affirmed the dignity of every human being as the basis of its doctrine, “even if it took eighteen centuries for its full incompatibility with slavery to be explicitly recognized.”

“This constitutes a wound in Christian memory, one from which we cannot consider ourselves detached,” he said.

Leo said that the church must firmly condemn all forms of trafficking related to the digital technological revolution “if we want to avoid the need to ask for pardon again in the future for having failed to respect the treasure of human dignity that is required by our faith.”

Anthea Butler, senior fellow at the Koch History Center, Oxford University, said Leo needed to acknowledge and atone for the church's complicity in historic slavery if he wanted to credibly “speak to the current issues of technological enslavement.”

“For descendants of enslaved persons, this is once again a much needed apology from the pope,” said Butler, who is Black.

Kellerman, the scholar, welcomed Leo’s apology but said more needs to be done to further acknowledge how the Catholic Church legitimized and expanded slavery.

“Pope Leo has strengthened the moral credibility of the church with this admission and apology today,” he told The Associated Press. “Hopefully a future document will explain in more detail the church’s involvement with slaveholding. As a scholar I have some quibbles with the wording, but this is a truly remarkable moment.”

During a 1985 visit to Cameroon, St. John Paul II asked forgiveness of Africans for the slave trade on behalf of Christians who participated in it, but not the popes. In a 1992 visit to Goree Island, Senegal, which was the largest slave-trading center in West Africa, he denounced the injustice of slavery and called it a “tragedy of a civilization that called itself Christian.”

According to genealogical research published by Henry Louis Gates Jr., 17 of Leo’s American ancestors were Black, listed in census records as mulatto, Black, Creole or a free person of color. His family tree includes slaveholders and enslaved people, Gates wrote in The New York Times.

During a visit to Angola last month, Leo prayed at a Catholic shrine at the site of an important hub of the African slave trade during Portugal’s colonial rule. While at the Sanctuary of Mama Muxima, Leo recalled the “sorrow and great suffering” Angolans endured for centuries, but he didn’t refer specifically to slavery.

Winfield reported from Middletown, Connecticut.

Associated Press religion coverage receives support through the AP’s collaboration with The Conversation US, with funding from Lilly Endowment Inc. The AP is solely responsible for this content.

Pope Leo XIV speaks during the presentation of his first encyclical, "Magnifica humanitas: On Safeguarding the Human Person in the Time of Artificial Intelligence," at the Vatican, Monday, May 25, 2026. (AP Photo/Alessandra Tarantino)

Pope Leo XIV listens to Cardinal Víctor Manuel Fernández, prefect of the Dicastery for the Doctrine of the Faith, right, during the presentation of Pope Leo XIV's first encyclical, "Magnifica humanitas: On Safeguarding the Human Person in the Time of Artificial Intelligence," at the Vatican, Monday, May 25, 2026. (AP Photo/Alessandra Tarantino)

Pope Leo XIV, left, attends the presentation of his first encyclical, "Magnifica humanitas: On Safeguarding the Human Person in the Time of Artificial Intelligence," at the Vatican, Monday, May 25, 2026. (AP Photo/Alessandra Tarantino)

Pope Leo XIV, left, arrives with Vatican Secretary of State Cardinal Pietro Parolin for the presentation of his first encyclical, "Magnifica humanitas: On Safeguarding the Human Person in the Time of Artificial Intelligence," at the Vatican, Monday, May 25, 2026. (AP Photo/Alessandra Tarantino)

Vatican Secretary of State Cardinal Pietro Parolin, right, talks to theologian Leocadie Lushombo during the presentation of his first encyclical, "Magnifica humanitas: On Safeguarding the Human Person in the Time of Artificial Intelligence," at the Vatican, Monday, May 25, 2026. (AP Photo/Alessandra Tarantino)

Pope Leo XIV holds the pastoral staff as he celebrates the Pentecost Mass in St. Peter's Basilica, at the Vatican, Sunday, May 24, 2026. (AP Photo/Gregorio Borgia)