Ali Kalthami is tired. It’s been two weeks since the birth of his daughter, Azza, and while he is still readjusting to the chaotic lack of schedule and sleep that life with a newborn brings, he is in a good place. “Sure, things are a little hectic right now, but it’s really my wife who is doing all the hard work,” he says with a smile.
Make no mistake, while his wife looks after the new baby, the Saudi filmmaker is pulling his weight looking after their other child, Aziz. “He’s still only young so I’m making sure that he adapts to the new situation and doesn’t feel like his life is out of balance. It’s a lot, but it is a blessing to get to spend so much time with him.”
The filmmaker is speaking to us from a restaurant. It’s three in the afternoon, and he stopped in on his way back from the gym. Trying to make the most out of whatever spare minutes he can eke out, he thought that he could get a quick hour workout done and be home in time for the call from Esquire Saudi. The timings didn’t work out, but instead of postponing or cancelling, he pulled into the nearest restaurant, ordered a sandwich, and set himself up. “Perhaps I was being too ambitious,” he laughs, “one thing that life with a baby
reminds you is that every minute counts!”
Just from this simple exchange, you can understand a lot about the type of person Ali Kalthami is. Committed and self-less, he often interprets things with a broader and thoughtful viewpoint. He understands the dynamics of professionalism, the important role that working with others plays, and the impact that decisions can have on other people. But, at the same time, he is not averse to both taking a risk and learning lessons when those risks don’t come off.
These are personality traits that he has built up over his career as a filmmaker, but Ali Kalthami isn’t your typical filmmaker. In a country where cinema was once a whispered dream, he’s become a pioneer, a director who not only navigated the nascent Saudi film industry but actively shaped it. His journey, like his films, is a nuanced blend of digital disruption, social commentary, and audacious storytelling.
It is not just the newborn sleep thief that has Kalthami tired. He has recently come off the riskiest project of his burgeoning career—his debut feature film, Mandoob.
The Riyadh-based thriller has been a unanimous success since it was released at the beginning of 2024, soaring to, and sitting atop, the Saudi box office following its screening at the Red Sea Film Festival in Jeddah. The film tells the story of Fahad (played superbly by Kalthami’s long-time collaborator, Mohammed Dokhei), who, after getting fired from a call centre, takes a job as a night courier who illegally sells alcohol in order to save his ailing father.
The film is a dark and layered exploration of grief and redemption, and upon release sent shockwaves through the Arab film scene. Mandoob wasn’t just a showcase of Kalthami’s directorial prowess; it marked a bold shift towards more complex narratives and a willingness to push the boundaries of storytelling—both within the Kingdom and beyond.
“The reaction the film had when it was released in cinemas was fantastic. Films with the subject matter of Mandoob are very uncommon of Saudi cinema, so people saw it as something refreshing,” Kalthami explains. “Meanwhile, our screenings outside of Saudi—in places like Egypt—people were intrigued as it showed a Saudi, and Riyadh, through a lens that maybe people hadn’t seen before.”
The Riyadh that Kalthami portrays in Mandoob isn’t a postcard-perfect image; it’s a city brimming with life, complexity, and the same shades of joy and sorrow that colour the human experience everywhere. “The role that the city plays in the film is an important one,” he explains. “I wanted to show the city that I know, the real Riyadh—the one that I am proud of. I like watching films where you can see and feel different shades of a city, and how it affects the characters.”
This authenticity is perhaps the key to its international success. Kalthami’s dedication to authenticity extends beyond his location choices. He strives to capture the essence of Saudi life, the hopes, dreams, and struggles of its people that resonate with an audience. In short Mandoob transcended borders, not because it is a Saudi film, but because it is a human story.
“I’m very proud of Mandoob and what it has done to help shape the future of the Saudi film industry,” Kalthami admits, “but it was also my riskiest endeavour. It was the kind of film that if it failed, it could have ended my career.”
Kalthami’s career began not on a grand set bathed in studio lights, but in the quiet hum of a computer. In the mid 2000s, when Saudi Arabia’s film industry was a flickering dream, Kalthami carved his niche directing digital shows. Shows like Khambalah and La Yekthar showcased his raw talent for crafting relatable narratives that resonated with a generation hungry for entertainment beyond traditional boundaries.
“The internet helped form our decision-making,” Kalthami reflects, speaking of his early days with Telfaz11—the content production company he co-founded. “We were making shows that we wanted to watch, and we stumbled across a connection with a huge online audience that we didn’t know existed. The sheer scale of people interested in what we were doing was a form of creative vindication for us, which in turn helped us grow in confidence.”
This digital playground was their proving ground. Here, Kalthami was able to hone his storytelling skills, learning to connect with an audience that yearned for a reflection of their lives. This connection would become the cornerstone of his future success.
The turning point came with the long-running series AlKhallat. For a decade, Kalthami help weave comedic gold, captivating audiences with their witty observations on contemporary Saudi society. The show’s popularity defied borders, landing a Netflix adaptation—a testament to his ability to find humour in universal themes.
However, Kalthami wasn’t content with just making people laugh. He craved deeper expression, a platform for the social commentary simmering beneath the surface of his comedies. This desire manifested in his award-winning short film, Wasati.
Released in 2016, Wasati was a stark departure from his usual comedic fare. A visually striking social commentary, it tackled sensitive topics with a raw honesty that resonated with critics and audiences alike. “I will go to watch my films,” Kalthami says, “but rather than watching the screen I prefer to watch the audience experiencing them. I like to see their reactions, to see if they laugh at the funny bits, or are engaged in the emotional parts.”
This dedication to audience connection extends beyond the screen. In his role as creative director at Telfaz11, Kalthami fosters a similar nurturing environment. As a launchpad for Saudi Arabia’s new generation of filmmakers, it is proof positive to his belief in collaboration and the power of storytelling.
“I’m proud of helping other filmmakers and actors,” he says. “It brings me a lot of joy that I can facilitate these amazing creatives in a way that helps them express themselves. If I’m honest, I’m probably more proud of that, than I am of actually doing a film.” This drive to elevate the local industry culminated in Mandoob—which, having sorted its distribution rights, will now be screened in cinemas in the UK, Ireland and France starting from this summer.
Since the days of gonzo filming and uploading episodes on YouTube, Kalthami has come a long way. More than a decade on it is clear that his creative fire isn’t fuelled by awards or accolades, but rather a deeper purpose. “Since I became a parent, I no longer assess my self-worth by my work,” he reveals. “I used to be very emotional and sensitive to criticism, but now I realise that I am working for a reason other than my own desires and I have become peaceful within.”
As Kalthami navigates the demands of fatherhood and filmmaking, one thing remains constant: his unwavering passion for storytelling. He may be sleep-deprived these days, but his creative fire burns brighter than ever. “I find joy in watching something get organised. I love that!” he enthuses, revealing a hidden side—one that thrives on structure and meticulous planning.
This love of organization is evident in his approach to new projects. “Right now I’m mostly just enjoying parenthood and family time,” he admits. “But at the same time, I’m navigating five potential projects that I could work on next. I like to have multiple ideas on the go, and then when one properly develops ahead of the others, I put all my focus into that one. I did the same process with Mandoob, which took nearly three years to make.”
This planning is more than just a personality quirk; it’s a shield against the pressures of expectation. “I think what I’ve learnt is that going forward I want to remove any expectation that there is on me,” Kalthami declares. “I want my next project to be something that brings me joy. If you are going to commit to a feature film project, it will take you years, so you must weigh up the amount of joy it will bring you, and ask: is it worth it?”
Ali Kalthami isn’t just a filmmaker; he’s an alchemist, transforming not just the silver screen, but the very perception of Saudi cinema. He’s a storyteller who finds inspiration in his heritage, a mentor who cultivates new voices, and a father who finds beauty in the chaos of new life.
With every project, he pushes boundaries, challenges perceptions, and leaves audiences yearning for the next tale he’ll weave. And while sleep may be a luxury these days, one thing is certain, Ali Kalthami’s creative fire burns bright, illuminating the path for a new era of Saudi cinema.
PHOTOGRAPHY BY OSCAR MUNAR / CREATIVE DIRECTION BY OSCAR YANEZ / STYLING BY NOUR BOU EZZ / PRODUCTION BY JAY ALDOKHEEL / GROOMING BY CHAPS & CO. / PHOTOGRAPHY ASSISTANT: EQEW / STYLING ASSISTANT BY NAJAT ELHUSSIEN; SENIOR PRODUCER: STEFF HAWKER