2025년 사우디아라비아 영화산업 결산

1. Overview of the 2025 Film Industry

The Saudi film industry began to be cultivated as a national strategic industry following Vision 2030 in 2016, and with the resumption of theatrical screenings in 2018, the market began to expand in earnest. In 2025, Saudi Arabia's box office revenue reached approximately SAR 920.8 million (approximately KRW 331.5 billion), with total admissions of around 18.8 million — the highest figures since cinemas reopened. Saudi Arabia has recently entered the top 15 of global box office markets, establishing itself as the core film consumption market in the Middle East.

▲ Figure 1. Number of films screened in Saudi cinemas, 2020–2025 — Source: Saudi Film Commission, reconstructed by the author

Since 2020, the number of films screened in Saudi cinemas has shown a general upward trend. The count rose from 279 titles in 2020 to 488 in 2022, dipped temporarily to 437 in 2023, then resumed growth — reaching 504 in 2024 and 538 in 2025. This growth reflects the combined effect of government cultural industry policies, expanding cinema infrastructure, and increasing inflows of foreign films.

▲ Figure 2. Saudi cinema revenue trend, 2018–2025 (unit: million SAR) — Source: Saudi Film Commission, reconstructed by the author

▲ Figure 3. Saudi cinema total admissions trend, 2018–2025 (unit: million) — Source: Saudi Film Commission, reconstructed by the author

Looking at the box office revenue and admissions trend from 2018 — when the market officially opened — through 2025: the Saudi film market grew rapidly after cinemas reopened in 2018, experienced a temporary slowdown due to COVID-19 in 2020, then recovered from 2021 onward. The market has since maintained stable growth, recording all-time highs in both revenue and admissions in 2025.

The market continues to be dominated by American films, with Egyptian and Indian films also holding significant shares. Saudi domestic films are limited in terms of the number of releases, but have shown gradual growth centred on certain breakout hits. Action and comedy are the dominant commercial genres by consumption share.

The Saudi film industry is characterised by a structure combining government-led policy support with expanding private investment. The Saudi Film Commission leads efforts in production support, workforce development, and international cooperation, while a transition toward a production-based industry is also underway.

2. Cinema Industry Structure and Box Office Market Analysis

Saudi Arabia's cinema industry is driving market growth on the back of competitive dynamics among exhibitors and rapid infrastructure expansion. As of 2025, 62 cinemas and 603 screens operate across 10 regions nationwide, and cinema and screen counts continue to increase, greatly improving audience accessibility. Film consumption is concentrated in major cities, particularly Riyadh, with notable regional disparities.

The expansion of premium screens is also influencing changes in the revenue structure of the cinema industry. Premium screening services — including IMAX, 4DX, and VIP auditoriums — are expanding alongside growing experience-centred consumption. Monthly box office trends also show marked volatility driven by seasonal factors and religious observances.

1) Major Exhibitors and Cinema Consumption Patterns

Saudi cinemas operate under government licensing and regulatory frameworks, with multiple operators competing in the market. Major players include VOX Cinemas (the Middle East's largest chain, based in the UAE), muvi Cinemas (a local Saudi company), and AMC Cinemas (a US global chain). muvi Cinemas operates over 200 screens and holds the largest footprint; VOX Cinemas is expanding in major cities with over 100 screens. Other regional operators — Lebanon-based Empire Cinemas and Grand Cinemas, and UAE-based Reel Cinemas — complete a competitive landscape.

In film distribution, the global reach of Hollywood majors — Warner Bros., Disney, Paramount — is strongly felt. In local Saudi film distribution, regional distributors such as Qanawat Group are playing an increasingly significant role.

Most Saudi cinemas operate as multiplex entertainment complexes within large shopping malls, situated alongside retail, restaurants, cafés, supermarkets, bowling alleys, and arcade game zones. Filmgoing thus tends to be part of family or group leisure outings. A night-oriented lifestyle means late-evening screenings also attract considerable demand.

Average ticket prices by day of the week range from approximately SAR 41.4 (around KRW 15,000) on Monday — the lowest — rising towards the weekend. Saturday is the highest at around SAR 52.1 (approximately KRW 19,000). Premium screenings run at approximately SAR 75 (KRW 27,000) and Lounger seats at around SAR 80 (KRW 29,000), while muvi Cinemas' Luxury Suites reach approximately SAR 185 (KRW 67,000).

2) Regional Distribution and Revenue

* Revenue converted at approx. SAR 1 ≈ KRW 360. Population: Worldometer statistics. Source: Saudi Film Commission, reconstructed by the author.

Looking at the regional revenue and admissions distribution, film consumption is clearly concentrated in major cities centred on Riyadh. Riyadh accounts for approximately 47% of total box office revenue, followed by Mecca (approx. 26%) and the Eastern Province (approx. 15%). The top three regions together account for over 80% of total revenue. Note that as the data is aggregated by administrative region, major city consumption — such as that from Jeddah — is captured within the Mecca region figure.

▲ Figure 4. Monthly box office revenue and admissions trend, 2025 — Source: Saudi Film Commission, reconstructed by the author

Looking at monthly box office revenue for 2025, July recorded the year's highest at approximately SAR 122.5 million (around KRW 44.1 billion), while March was the weakest at approximately SAR 14.9 million (around KRW 5.4 billion). Revenue is generally higher in summer and lower in spring. In summer, rising temperatures reduce outdoor activity and increase indoor leisure, naturally boosting cinema attendance.

By contrast, March — which includes the Ramadan period — sees a significant decline in cinema demand. Daytime fasting reduces outings, while evenings centre on iftar (the post-sunset meal) and family-oriented activities. The prevailing religious atmosphere also tends to reduce entertainment consumption broadly during this period.

3. Analysis of 2025's Major Box Office Hits

1) Top 10 Overall Box Office Breakdown

* Exchange rate: approx. SAR 1 ≈ KRW 360. Source: Saudi Film Commission, reconstructed by the author.

The top 10 box office titles of 2025 reveal a market dominated by American films — including Hollywood titles such as F1 The Movie, Lilo & Stitch, Mission: Impossible – The Final Reckoning, and Dangerous Animals.

Saudi domestic films have also made significant inroads into the top ranks, showing gradual growth. Al Zarfa, Shabab El Bomb 2, and Hobal each maintained relatively long theatrical runs and secured stable audiences, running for 16 weeks or more — an indication that audience demand for local content is gradually broadening.

Egyptian films also feature within the top 10, reflecting the influence of Arabic-language content. The inclusion of Japanese anime title Demon Slayer further suggests that the Saudi film market is developing a multi-layered consumption structure that accommodates content from a diverse range of countries.

▲ Figure 5. 2025 Saudi Arabia box office market share by country of production — Source: Saudi Film Commission, reconstructed by the author

By country of production, the US accounts for 55.5% of total box office revenue, with Hollywood content remaining the dominant commercial force. Egypt follows at 22.2%, and Saudi Arabia registers 13.3% — a comparatively strong showing given the limited number of domestic releases. India (3.7%), Japan (2.9%), and the UK (1.0%) record lower shares.

Notably, Korean films did not feature among the leading countries by market share in 2025. This reflects the fact that while Korean content is growing in recognition on Saudi OTT platforms, its footprint in the theatrical market remains limited.

* Source: Saudi Film Commission, reconstructed by the author.

The US leads with 213 titles, followed by India (130) and Egypt (40). Despite India's high volume of releases, its box office share is just 3.7%, reflecting a limited audience structure concentrated among South Asian migrant workers. Saudi domestic films, though just 11 titles, achieved a 13.3% market share — indicating a growing audience base for local content.

2) Box Office by Genre and Age Rating

▲ Figure 6. 2025 Saudi Arabia box office share by genre — Source: Saudi Film Commission, reconstructed by the author

* Source: Saudi Film Commission, reconstructed by the author.

By genre, action leads with a 32.3% market share, driven by large-scale commercial blockbusters such as F1 The Movie. Comedy comes second at 25.8%, boosted significantly by Saudi domestic films like Al Zarfa. Drama, while recording the second-highest number of titles (99), holds just 10.5% of revenue. Adventure, with only 17 titles, achieved a comparatively strong 6.5% share. Horror maintained stable demand at 12.1%, and animation reached 7.8% on the back of Demon Slayer.

* Source: Saudi Film Commission, reconstructed by the author.

By age rating, R18 films account for 45.4% of total revenue — the largest share — followed by R15 at 20.4% and PG15 at 13.4%. This reflects a consumption structure dominated by adult and teen audiences, with G-rated films capturing just 0.02% of the market. The data suggests that adult-oriented action, horror, and thriller content drives the market.

3) Performance of Saudi Domestic Films

* Exchange rate: approx. SAR 1 ≈ KRW 360. Source: Saudi Film Commission, reconstructed by the author.

Al Zarfa was the standout domestic performer, with SAR 30.7 million (approx. KRW 11.1 billion) in revenue and 730,000 admissions. Shabab El Bomb 2 and Hobal also featured in the overall top 10, proving locally produced films can hold their own against Hollywood and other international competition. The top domestic titles notably sustained runs of 16 weeks or more.

The domestic market is markedly comedy-driven: more than half of the top 10 are comedies or comedy-based genres. This aligns with the Saudi theatrical market's strong preference for family-friendly and broadly entertaining content. While the number of Saudi domestic releases remains small, a handful of breakout hits have demonstrated the commercial potential of local content and shown that an audience base is forming.

4. Non-Theatrical Revenue (OTT, Pay TV, and Ancillary Markets)

Alongside the growth of the theatrical market, OTT-centred video content consumption is expanding rapidly in Saudi Arabia. Driven by high internet penetration, smartphone usage, and a young demographic, streaming service usage is rising and film consumption habits are shifting accordingly.

The Saudi OTT market is shaped by competition between global platforms — Netflix, Disney+, Amazon Prime Video — and regional platforms such as Shahid and Starzplay. According to Omdia, the MENA online video market is projected to reach approximately USD 1.5 billion in 2025, with SVOD subscribers forecast to exceed 27 million. MBC Group's OTT platform Shahid has secured approximately 4.4 million subscribers and is firmly established as one of the leading regional platforms.

While theatrical consumption is dominated by Hollywood blockbusters and premium screenings, OTT is the arena for mid-budget genre films, series, and niche content. The ancillary market — formerly centred on satellite TV and DVD — has rapidly reorganised around IPTV, VOD, and mobile streaming, with online platform consumption growing steadily.

Unlike in the theatrical market, Korean films are gradually expanding their presence on OTT in Saudi Arabia. Korean films are regularly made available via Netflix, and in 2025 Korean titles repeatedly entered the Saudi Netflix weekly Top 10 for films. Arabic-subtitled Korean content is also available on Shahid, where drama series currently lead; but the growing recognition of Korean content broadly is expected to have a positive knock-on effect on the distribution of Korean films going forward.

5. Government Support and International Cooperation

1) Government Support and Expanding Production Infrastructure

Saudi Arabia is developing into a new content production hub for the Middle East, combining government support and large-scale cultural infrastructure investment to expand filming infrastructure, production assistance, and global partnerships. The industry still relies heavily on foreign talent for cinematography, post-production, VFX, and sound, and is focusing on building its domestic film industry base through workshops, production support programmes, and emerging filmmaker development initiatives.

The Saudi government is also actively investing in attracting overseas productions and expanding production infrastructure. NEOM and AlUla are being developed as international filming destinations, with incentives to attract foreign film and drama productions. The Saudi Film Commission also runs production support programmes such as the Daw' Film Competition. Hobal — which ranked sixth in the 2025 Saudi overall box office — was one of the programme's selected projects, developed with NEOM's filming infrastructure and production support.

The country's varied locations — desert, coastline, futuristic urban environments — are attracting increasing interest from global producers, and the Saudi government offers a cash rebate of up to 40% to attract international productions.

Film AlUla, one of Saudi Arabia's leading filming hubs, operates production incentives alongside location access and filming permit support. Riyadh's JAX District is developing Jax Film Studios — a major production facility including sound stages and virtual production facilities. PlayMaker Studios is also under development in the mega-entertainment city of Qiddiya, near Riyadh. Both aim to serve as international film and OTT production hubs.

The year 2025 also saw signs of diversification in cinema culture: arthouse venues such as Cinehouse have been expanding, suggesting the screening landscape is gradually broadening beyond the blockbuster-dominant structure.

2) International Film Festivals and Global Cooperation

Saudi Arabia is rapidly expanding its international film network through international film festivals and global content collaboration. The Red Sea International Film Festival (RSIFF), launched in 2021, has grown into the representative international film festival of the MENA region and serves as a key platform for the Saudi film industry. The festival is held in the UNESCO World Heritage area of Al-Balad in Jeddah, combining international film screenings with industry exchange programmes.

RSIFF functions as an integrated industry platform encompassing investment, production, distribution, and education. The Red Sea Souk — held during the festival — facilitates networking and co-production discussions between global investors, producers, and filmmakers. The 2025 RSIFF was attended by international film industry figures including Anthony Hopkins, Adrien Brody, Jessica Alba, and director Darren Aronofsky.

Beyond the US and Europe, Saudi Arabia is broadening its engagement with Asian film markets. The 2025 Saudi Film Festival featured a collaboration programme with Japan's Short Shorts Film Festival & Asia, and the Saudi Film Commission participated in both the Beijing International Film Festival and the Shanghai International Film Festival to expand cooperation with China.

Korean–Saudi film and cultural exchange also expanded in 2025. In January, the Saudi Film Commission and KOFIC co-hosted the Korean Film Week at Cinehouse in Riyadh, featuring a retrospective including Parasite and Spider-Web alongside a talk and seminar on Korean cinema's global competitiveness.

The Joy Forum in Riyadh was attended by actors Lee Jung-jae and Lee Byung-hun and director Yoon Je-kyoon, with discussions centred on the global content industry and film cooperation. At the same year's RSIFF, director Yoon Ga-eun's The World of Love received an official competition invitation, and actress Seo Su-bin won the Best Actress award for her role in the film.

6. Outlook and Challenges

Saudi Arabia's film industry has maintained rapid growth since cinemas reopened in 2018, establishing itself as a core film market in the Middle East. Box office revenue and admissions continue to grow, with government support and production infrastructure expansion ongoing and the OTT market also developing. In 2025, domestic films' box office share and breakout successes were more visible than ever, demonstrating the growing potential of local content.

The industry still faces challenges, however. The theatrical market remains strongly dominated by Hollywood, and domestic film production volume and market scale remain limited. Shortages of skilled production personnel — particularly in directing, cinematography, and post-production — continue to be cited as a concern. Regional disparities in cinema consumption and infrastructure persist, with the market concentrated in Riyadh, Jeddah, and other major cities. Cultural and religious review criteria also play a significant role, with some foreign films edited for theatrical release.

Korean cinema's footprint in the Saudi theatrical market remains limited, but touchpoints are gradually expanding through OTT platforms, film festivals, and cultural events. The 12th Saudi Film Festival — to be held at Ithra, the King Abdulaziz Center for World Culture established by Aramco, from 26 June to 2 July 2026 — is scheduled to include a Korean film programme in collaboration with the Busan International Film Festival (BIFF), pointing to further bilateral exchange ahead.

Overall, Saudi Arabia's film industry is in a transitional phase from a consumption-centred market toward a production- and investment-oriented industry. Underpinned by government support, expanding production infrastructure, and growing international cooperation, it is expected to emerge as a major content industry hub in the Middle East.