The sharp eye and discerning taste of Mohammed Al Turki has shaped Saudi cinema; forged cultural paths between east and west; and is now set on helping reimagine the future of luxury
It’s hard to keep up with Mohammed Al Turki. If you are one of his two million plus social media followers you’ll be well-trained in seeing him pop-up on red carpets in Hollywood and Cannes; or amid line-ups of laughing A-listers and Oscar winners; or backstage at a Parisian catwalk show; or marooned in a secretive luxury bolt hole overlooking St. Tropez or the Aegean. It’s a snapshot of a glorious, jet-set, whirlwind of a life, lived very well indeed.
Penny Loafers, by GUCCI; Jardiniere cotton tote bag, by PRADA; Intrecciato Sunglasses, by BOTTEGA VENETA
But, at times, ‘Mo’—as he is known to his friends and followers—finds it hard to keep up with himself.
“I’m actually an introvert—although my lifestyle, and social media accounts, would tell you otherwise,” Al Turki admits with a short semi-embarrassed burst of laughter. “Despite what people see, I’m someone who really needs his alone time—and if I can’t get it every day, then certainly every few days, just to regain my energy, reset and be able to go again and succeed with whatever it is I’m trying to do next.” And there is always something next.
We are sitting on a private terrace in the glorious late springtime sunshine in Istanbul. Al Turki is looking relaxed having spent much of the day at the spa. This is the last port of call in a series of trips that has seen us cross paths with Al Turki in a whole host of dramatic locations including the French Riviera, Dubai and Japan—but, bear with us, we’ll get into all of that shortly.
Istanbul—a city that is the global metaphor of bridging cultures—makes for a rather fitting point of departure. As two storytellers (albeit in different mediums), sitting on a terrace overlooking the Bosporus River (the centuries-old geographical divide between East and West) the symbolism is not lost on us. But the truth is, Mo Al Turki isn’t just about the grand gesture—no true introvert is—but rather he’s a man who understands the power of both scale and subtly. His world operates with an almost forensic precision—what you see (and when you see it) is up to him.It makes sense. He is ‘a film guy,’ after all. If there is a slight edge, or a refined finish, that quiet attention to detail has been carefully considered, and normally done in order to elevate everything.
“I’m detail oriented. I think it is important to pay attention to details, and I want things that I do to have my touch,” he explains. “Over the years, I’ve learnt that if you spread yourself too thin, then you risk compromising the quality of things, and I don’t want to do that.” This level of attention to detail isn’t an affectation; it is the very lens through which he perceives and shapes the world around him, informing his decisions, from his career as a successful Hollywood film producer; to spearheading the rise of the film industry in his native Saudi Arabia; to his latest ambassadorial role as the Chief Luxury Ambassador of INFINITI Middle East—it defines his approach to life and business. His nature shaped by nurture.
For over a decade Mohammed Al Turki was shorthanded as ‘the Saudi in Hollywood’—it is a notable term because it was so uncommon. Born and raised in the eastern Saudi city of Khobar to an affluent family, he shared his family’s love for travel and film—so much so that he would eventually move to London to study film at university. After graduating, following a brief stint working in oil and gas, he was randomly introduced to British writer-director Zeina Durra while on holiday. She was working on an independent film at the time, and asked Al Turki if he wanted to be involved. That meeting might well be referred to as Al Turki’s breakthrough moment—not only an introduction into the world of film, by lighting a fire in him that saw him go on to produce nine films in a hugely prolific three-year period, including working with Richard Gere on Arbitrage (2012), with Zac Efron, Dennis Quaid and Heather Graham on At Any Price (2012) and Julianne Moore in What Maisie Knew (2013). Later he worked on critically acclaimed and award-winning films including 99 Homes (2014) with Andrew Garfield, and Michael Mann’s Ferrari (2023).
Having made a name for himself within the world’s hardest film industry ‘the Saudi in Hollywood’ would eventually return back home, drawn by his love for film, and a sense of duty to his country.
Recognizing the immense potential of Saudi cinema, following the unveiling of major cultural policy changes by Crown Prince Mohammed Bin Salman, Al Turki returned to the Kingdom in 2017, not as a triumphant star, but as a humble builder, eager to nurture a nascent industry and inspire a new generation of young filmmakers.
“It felt like I needed to take everything that I had worked so hard to learn about being a producer, and the art of filmmaking, in my twenties, and put into full effect in service of my country,” Al Turki explains. “This whole seismic cultural shift was like a Tarantino-style plot twist, which I never thought would happen, or that I would be approached by the government to help establish an entire film industry.”
His return marked a pivotal moment for Saudi cinema, and transformed him into a cultural catalyst. As CEO of the Red Sea Film Foundation (a role he left just recently, but remains connected to in an advisory capacity), he spearheaded a period of incredible growth, establishing Saudi Arabia firmly on the global cinematic map. “I was able to help build ‘Red Sea’ to where it is today, giving it international industry credibility—which, in turn, has helped the whole Gulf region.” He proudly highlights numerous achievements under his leadership, including the first Saudi film entry to the Cannes Film Festival, Norah (2023), and an Oscar nomination for a Tunisian film Four Daughters (2023), a striking docu-drama supported by the Red Sea Film Foundation.
“Platforms like Red Sea are very important as a cultural unifier for region,” he explains. “These institutions are not only for Saudis, they serve the whole Middle East industry in terms of more access, visibility, funding and opportunity.” Through his connections, Al Turki was instrumental in securing the likes of Spike Lee and Baz Luhrmann on to the jury of the Red Sea Film Festival, and having them share their experience with the region’s aspiring young filmmakers. In 2021, the Red Sea Film Festival launched its ‘Women in Cinema’ initiative, held annually in Cannes, in order to shed light on inspiring women in front of and behind the camera. Even after leaving his role as CEO, he still reflects on it with profound pride: “Red Sea will always be a part of my DNA and part of my heart. Knowing all the work that went into it, and seeing it flourish, it marks the fulfillment of a dream I never imagined possible.”
On paper, something else that Mo Al Turki probably never imagined happening was his newly-minted role as the Middle East’s first-ever ‘Chief Luxury Ambassador’ for the Japanese car brand INFINITI. It’s a role that feels less like a brand endorsement and more like a codification of a life philosophy. As a man who has spent a career working behind the camera his next adventure is very much in front of it as the star of a new content series, developed for INFINITI, which follows Al Turki on an immersive journey through Japan for the first time.
“Japan is a country where I’ve always wanted to go, but had never been too. I discovered a culture that resonated so deeply with my own set of values in terms of precision, design, and understated elegance, and the show is about that, really,” he explains. Or, as INFINITI puts it, the show follows Al Turki through Tokyo and Kyoto to explore the inspirations behind the brand’s human-centric design, Japanese heritage.and INFINITI’s vision of modern Japanese luxury.
Unsurprisingly, throughout the experience it was the attention to detail that often caught Al Turki’s eye. “Luxury is supposed to be something you notice,” he says. “It is subtle, but I notice it all around, not only in cars and clothes, but in hotels and in design storytelling.” To re-enforce his point (and perhaps to show how invested in the partnership he is), he brings up how the, front grill of the new INFINITI QX80 is designed to look like “a forest of bamboo trees”, and mentions elevated leather interior options; and even how it comes with top of the line Klipsch speakers installed into the driver’s headrest, so that “if you’re driving and you take a call, the sound is isolated to you so that it doesn’t distrub the other passengers. I love the subtlety, and the detail. It essentially creates the feel of a private cabin. That is luxury.”
Away from filming in INFINITI’s sprawlling headquarters in Yokohama (“which was like being given a tour into the future of humanity”), it was in meeting geishas, experiencing traditional tea ceremonies and seeing Japan’s incredible cherry blossom that rounded out Mo Al Turki’s cultural explorations, further cementing his appreciation for the country’s heritage, refined artistry and commitment to a depth that transcends overt display. This ethos perfectly aligns with his personal style: “I always try to be low key, and even the way I dress, it’s always classic. I could be wearing the craziest brands, but nobody would know.”
When asked about what it was like being in front of the camera for once, Al Turki cracks a broad smile. “You know, when I first wanted to get into the film industry, I wanted to be an actor,” he reveals. “I would watch Omar Sharif in incredible films like Dr. Zhivago (1965), Lawrence of Arabia (1962), and Funny Girl (1968), and I would be, like, here’s somebody from Egypt that has bridged East and West, so why can’t I do that? There should be more Arabs on screen like him. But the truth is, back then, the film industry was still a bit taboo for Saudis, and so I didn’t know if it would be deemed acceptable for me to be on screen.” So he made his career off screen: learning, building and waiting.
As we swap behind the scenes filming stories, it is clear that Al Turki has something that he is excited to share, but not sure if he should. After a little prying (and some reassurances of non-disclosure), he reveals that he has an upcoming on-screen role in a major film.
During a recent “accidental experience” on a film set, Al Turki was unexpectly cast in a role following an on-set casting issue. He proved to be somewhat of a revelation, and a potential new direction for him. “I was simply asked, if I could step in and read some lines as a stand in,” he recounts. Initially hesitant, he was encouraged to do the reading, and “the team and the director were pleased with how it went, and sent me to wardrobe. As things progressed, I started to get given more lines, and it became a thing.” Al Turki admits to feeling “a bit nervous” the night before shooting but, like an old pro, found himself click onto autopilot once on set. He found the experience invigorating. “Working with a great director also makes you feel incredibly welcoming. I just took the instructions and trusted the process.” The experience was so positive, he admits that he can definitely see himself doing it again, and even has been offered another role in an upcoming project that he says he is “currently considering.”
It’s a perfect full-circle moment. The man who once put aside his own acting dreams because he worried about how a Saudi in front of the camera would be perceived is now being writing into roles on major productions. It’s a testament to how much the landscape—both his own and his country’s—has changed.
The sun is beating down on the courtyard of the sleek villa, but inside, the atmosphere is calm and controlled. Racks of designer clothing line the walls—Versace jackets, Gucci tailoring, an elegant, monastic-looking runway piece from Hermès. Al Turki moves through it all with an easy grace—more observer than centre of attention. The crew mention that he is quieter than his larger-than-life social media presence might suggest.
He subconsciously runs his hand across the back of the leather sofa. The photographer is repositioning the lights, and so there is a brief pause in the proceedings on set. “You know how you can tell the quality of a place like this? Even on a hot day like this, you can’t hear the aircon blowing,” he says to the crew, but to no one in particular. You can see his brain ticking over taking note of the finishing of the stunning four-bed mansion tucked away in The Collection neighbourhood in Dubai’s secluded Al Barari. Watching him on set, he possesses the focused energy of a director: assessing each look, each composition, but also careful not to share his opinion unless invited to—letting the creatives, create. Clearly, it ain’t his first rodeo.
He points to a shot of himself in a rich, brown jacket, leaning against the QX80. “I prefer the brown,” he says, picking it over another, more ostentatious, look. “It feels more Esquire.” He laughs, but he’s right. It’s classic, confident, and considered. It’s Mo.
When discussing the shoot, he slips easily into the language of a producer. This isn’t vanity; it’s a professional understanding the assignment. It’s the same focus that saw him produce a string of indie films in his twenties and the same eye for what works that would later guide a national film festival in his thirties.
The looks he gravitates towards are telling. A flowing Hermès ensemble makes him feel “peaceful”. “It represents me,” he muses in a rare moment of public self-analysis from a man who, social media aside, describes himself as private. The photoshoot, like his life, is a balancing act between the quiet, spiritual individual and the public-facing global influencer.
Back in Istanbul, the light fades over the Bosporus, casting long shadows across the private terrace. Mohammed Al Turki, looking out at the city that for centuries has straddle two continents, reflects on a life lived at a pace that often defies expectation. “I feel like my job there [in Saudi] was fulfilled,” he says, speaking of his monumental contributions to the country’s film industry, “and it gives me a great sense of identity and pride, like, it really does make me happy.” It’s a quiet satisfaction, a profound understanding of impact, born from an innate and cultivated attention to detail. This focus, from the intimate precision of a bespoke suit to the grander narrative of a nation’s cinematic awakening, long been the driving force behind a life lived with intentionality and the pursuit of building connections across worlds.
Perhaps the clearest thing that we have noticed from our destination-hopping voyage with Mo Al Turki—from Istanbul and Dubai, to Saudi and Japan—is that his level of attention to detail isn’t an affectation; it has been shaped by the things he has seen; things he has done; and people he has met along the way. It is shaped by a life that, so far, has been well-lived. And, now as he enters a new era of his five star life, we’d all do well to try and keep up.
This article was originally published in the July/August 2025 issue of Esquire Middle East.
Photography by Ben Cope / Styling by Kim Payne
Grooming: Manuel Losada; Hair styling Jean Luc Amarin; Senior producer: Steff Hawker; Fashion assistant: Maanoshri; Lighting assistants: Scar Salario; Special thanks to Allsopp & Allsopp Location: L2, The Collection Al Barari