Indie Film 'Hobal' Breaks Records With 500,000 Viewers in Four Weeks
Hobal dominates Saudi cinemas with over 500,000 admissions, breaking records and outperforming global hits in just four weeks.
'Hobal', an independent Saudi film directed by Abdulaziz Alshlahei, has become the fastest-growing independent film in the kingdom's history, with over 500,000 admissions in four weeks.
Written by Mufarrij Almajfel, the film follows a Bedouin family facing isolation after the Gulf War. The cast features Ibrahim Al-Hassawi ('Scales'), Mishaal Almutairi ('Forty Years and One Night'), and Mila Alzahrani ('The Perfect Candidate').
Since its release on January 2nd, 'Hobal' has amassed 527,000 ticket sales and grossed SAR 21,633,556 (approximately USD 5,767,923 million). The film has held the number one spot in the nation's box office for four consecutive weeks.
Building on its record-breaking opening week of 119,717 admissions, 'Hobal' has sold-out screenings from Riyadh to Jeddah and even rural areas, where audience engagement accounted for over 20% of total admissions. Since its release in Kuwait, UAE, Oman, and Bahrain on January 23rd, the film has already achieved over 87,000 admissions.
The film was produced by Shaf Studios, with Egypt's Film Clinic and Peninsula Pictures Group as co-producers. 'Hobal' is led by producer Sharif Almajali, p.g.a, alongside executive producers Abdulaziz Alshlahei, Mofarij Almujfel, and Mohamed Al Turki. The film is backed by the Daw' Film Competition, the Saudi Film Commission, the Quality of Life Program, and NEOM, with additional support from private sector partners.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Al-Ahram Weekly
2 hours ago
- Al-Ahram Weekly
A legacy to remember: Father of Egyptian cinematic realism Salah Abu-Seif
The late renowned filmmaker Salah Abu-Seif, one of Egypt's most profound voices, had directed more than 40 films over nearly five decades, firmly establishing himself as the father of Egyptian cinematic realism. Abu-Seif's career shaped Egypt's cinematic landscape and gave the lower and middle classes a long-overdue place on the silver screen. Born on 10 May 1915 in the working-class Cairo district of Boulaq, Abu-Seif was no stranger to hardship. This background informed his lifelong commitment to portraying social realities. His journey into cinema began unconventionally. He worked in a textile company until his broad knowledge of film caught the attention of a visiting director. Soon after, he joined Studio Misr, where he worked first as an accountant and then as a film editor for a decade. He also directed several documentaries and released his debut feature, Always in My Heart, in 1946. Initially, Abu-Seif experimented with various genres: romance, historical epics, light comedies, and Bedouin dramas. A turning point came with The Falcon (1950), which was partly filmed in Italy. There, he encountered Italian neorealism, which deeply impacted his cinematic language. Upon returning to Egypt, he became more resolute in creating films that reflected society's real struggles. His 1952 film The Foreman Hassan (El-Osta Hassan) is widely considered his first true realist masterpiece, marking the start of his mature phase. From 1952 until the 1967 defeat, Abu-Seif directed 20 major works that dissected Egypt's social and political fabric. During this period, he directed 20 films, starting with Raya and Sakina (1953) and ending with his memorable A Woman's Youth (1956), Between Heaven and Earth (1960), Don't Put Out the Sun (1961), Not Time for Love (1963), etc. His films tackled a wide range of issues: The Monster (1954) examined crime and poverty; The Strong Man (1957) explored the merger of money and power; Cairo 30 (1966) critiqued pre-revolutionary political corruption; The Second Wife (1967) and I Am Free (1959) addressed the intersection of gender, oppression, and personal agency. His narratives often linked sexuality and class struggle, showing how those in power usually exploited the vulnerable, most poignantly portrayed in characters played by Soad Hosny, who either succumbed to or defied the patriarchal forces around them. "Salah Abu-Seif was, like many others, devastated by the 1967 defeat, and this impact is quite evident in the quantity and quality of his output thereafter. During the following 22 years, he directed only 12 films, including two parts in two films, Three Women (1969) and First Year of Love (1976), and a remake of his own film You Get Your Deserve, in colour under the title The Criminal (1978), and a TV film, Mr Dog (1994). The best of these films weren't close to his previous masterpieces. He was living on past glories while new and promising directors began to emerge," Ashraf Gharib wrote. Critics lauded Abu-Seif not just for his themes but for his craft. He innovated editing techniques to draw symbolic parallels — for example, cutting between a poor home and a wealthy one by showing the same household objects in each. This visual storytelling, influenced by Soviet montage theory, deepened the viewer's understanding of Egypt's class divide. Though revered, Abu-Seif often encountered difficulties with Egypt's censors. His film The Trial 68 (Al-Qadia 68), which delved into post-1967 national trauma, was banned until it gained international acclaim. At its premiere, he and his son were physically assaulted — an incident underscoring the political risks embedded in his work. Internationally, his voice did not go unnoticed. His films The Monster (El-Wahsh, 1954) and The Leech (Shabab Emaraa, 1956) were screened at Cannes, while The Adventures of Antar and Abla (Mughamarat Antar wa Abla, 1948) entered the festival's competition in 1949. He also participated in Venice and Berlinale, positioning Egyptian cinema globally. Beyond directing, Abu-Seif had an indelible impact as a mentor and screenwriter. He believed a script was the backbone of a film — reportedly writing 300 scenes for some projects before editing them. He collaborated with iconic novelists like Naguib Mahfouz and Ihsan Abdel-Quddous, bringing Egyptian literature vividly to life. Directors such as Atef El-Tayyeb, Mohamed Khan, and Dawood Abdel-Sayed count him among their key inspirations. In tribute, El-Tayyeb named the protagonist of The Bus Driver (Sawaq El-Autobees, 1988) after Abu-Seif's character of Hassan from The Foreman Hassan (El-Osta Hassan). Though his later works never reached the acclaim of his mid-century triumphs, films like The Beginning (1986) and The Water Carrier (1977) still revealed flashes of brilliance. In his twilight years, he was often seen as a master reflecting on a changing world, as younger directors stepped into the spotlight he had helped create. Nearly three decades since his passing on 22 June 1996 (some international sources list 23 June), Salah Abu-Seif's legacy lives on — not only in the countless directors he influenced but also in the enduring relevance of his films, which continue to hold a mirror to Egyptian society. Follow us on: Facebook Instagram Whatsapp Short link:
CairoScene
a day ago
- CairoScene
Saudi Arabia Goes to Drama Therapy With Lujaïn Faqerah
Saudi Arabia Goes to Drama Therapy With Lujaïn Faqerah he historic Cinema Al-Balad in Riyadh recently became the setting for a unique drama therapy workshop. Participants were guided to silently embody childhood memories through repeated gestures, an experience led by Lujaïn Faqerah, a senior psychologist engaging with a nation embracing its burgeoning creative scene. During the workshop, one person intently adjusted imaginary glasses on their nose, while another swayed rhythmically, lost in silent movement. Soon, the room filled with quiet, repetitive, and deeply personal actions. Afterwards, Faqerah told me, 'Someone simply knocked on a table. That was his sole contribution.' In the world of drama therapy, a simple action—like knocking, winking, or waving—can be the signaling of something psychologically profound. 'He was like, 'tick tick,' and then again, 'tuck tuck,' and then again, 'tick tick,' Faqera explains. 'It became a rhythm. It was the start of something.' Ultimately, the end goal of drama therapy is to create a comfortable atmosphere, free from pressure or judgment. Faqerah is working to facilitate the practice as Saudi Arabia undergoes one of the most rapid cultural shifts in modern history. But where does it begin? Lujaïn Faqerah's journey to becoming a drama therapist in Saudi Arabia is unique. Her interest in the arts began early with a childhood passion for drawing, but when she pursued psychology in college, she initially viewed art as a separate hobby. It was during her second year, in a counseling psychology course, that she first encountered the concept of art therapy, a revelation that immediately captivated her. She initially wanted to focus solely on art therapy, but her curiosity expanded as she discovered the broader field of creative arts supervision This pursuit led her to London, where she enrolled in a year-long training program. There, a pivotal moment occurred: the program unexpectedly centred on drama therapy. Faqerah, who initially believed it was "just for actors and people who know how to act," felt like an outsider among 15 seasoned drama therapists. Doubts crept in: "I felt like, I'm not good enough to be in this drama therapy thing," she said. Yet, it was through this very discipline that she experienced a profound personal shift. The impact was immediate, unlike the often-gradual effects of traditional talk therapy. "I thought, 'Oh my God, if this is how it feels, then I want everyone to feel the same'.' As the Kingdom's creative floodgates open, Faqerah's work has become more crucial than ever. "The art scene in Saudi is getting richer and richer, and people are more drawn to it," she explains. With this boom in cinema, theater, and visual arts, there is a burgeoning need to support the creators behind it. "They're trying to find everything that would help this grow in a healthy way, in a creative way, but in more in a professional way." Faqerah is providing just that: a psychological toolkit for a new generation of artists and citizens navigating uncharted emotional and professional territory. Faqerah's workshop methodology focuses on building trust. Instead of demanding participants act or perform, she invites them to create a group "sculpture" to represent an abstract concept, like a creative block. By removing the pressure to perform, she creates a space safe enough for genuine expression. Her leadership comes from within the circle, not from a director's chair. "I wouldn't be shy to act silly in front of them," she says. "So they feel like, okay, if she can do this, and if she's comfortable to do this in front of me, then I'm comfortable to do this as well." While her methods are playful, they are rooted in hard science. Faqerah connects her practice directly to the mechanics of our minds and bodies. "I feel like the neuropsychology, I would say, polyvagal theory, and then the drama and the movement; they all come together hand in hand." By translating psychological states into physical motion—slowing down an anxious walk to a slow-motion glide, for instance—participants can actively engage with and regulate their own nervous systems. "I feel this makes the therapy so much deeper and enriching," she adds. This approach comes at a perfect time. The stigma around mental health in Saudi Arabia is fading, replaced instead by curiosity and, in some circles, a sense of pride. "Sometimes for the younger generation, it's like a luxury thing to have a therapist," Faqerah says. "They're like, oh, I have my own therapist, and it's cool." The infrastructure has expanded to meet this growing interest. Try this statistic: in the early 1980s there were only two psychiatric hospitals in the whole of the Kingdom. Today, there are at least 21. Crucially, the newness of Faqerah's field gives it a strategic advantage. Without the preconceived notions that can sometimes weigh down traditional talk therapy, people are more willing to engage, play, and discover. Back at Cinema Al-Balad, during that Faqerah's event, after the ice was broken, seven volunteers eventually made their way to the stage, molding their bodies into a collective shape of a shared challenge. The laughter and engagement were palpable. Lujaïn Faqerah successfully turned a stage of potential anxiety into a nexus for emotional connection. While that workshop was a standalone event, she is just getting started with her vision. She envisions more workshops, tailored for comedians at a comedy club, for visual artists struggling with a block, for actors seeking to deepen their craft. In a nation writing its next act, Lujaïn Faqerah is ensuring its people have the tools not just to perform, but to thrive.
CairoScene
2 days ago
- CairoScene
Ministry of Culture's ‘Terhal' Takes the Stage in Diriyah This August
Following its 2023 debut, the second edition of 'Terhal' will showcase Saudi culture through music, dance, and storytelling, with two nightly performances throughout August. The Ministry of Culture is bringing back its theatrical production 'Terhal' for a second edition at the Mayadeen Venue in Diriyah, with performances running from August 4th to the 25th daily (excluding Sundays). Building on its 2023 debut, the show offers a cultural experience inspired by Saudi Arabia's heritage, customs, and landscapes.'Terhal' follows the story of a young Saudi man on a journey to define his identity and contribute to the Kingdom's future. The performance blends live music, dance, and dynamic stagecraft to bring the narrative to life, incorporating scenes that reflect the beauty of Saudi Arabia's diverse landscapes and the strength of its production features a mix of local talents and international performers, with over 60 artists contributing to the immersive theatrical experience. Two performances will take place each evening at 7:00 PM and 10:30 PM. Tickets start at SAR 100 and are available through the official WeBook platform.
