Taking place in the Red Sea city of Jeddah, from November 30 to December 9, the Red Sea International Film Festival (RSIFF) will return to the Kingdom for its third edition.

The film festival announced its distinctive theme for this year: "Your Story, Your Festival." This theme aims to encapsulate the essence of individual narratives, through embodying the ideals of connectivity, diversity and cultural exchange, all through the digital format of film.

The esteemed Red Sea: Competition is set to showcase 17 films, encompassing both narratives and documentaries, sourced from Asia, Africa, and the Arab world. This segment of the Red Sea International Film Festival promises to unveil pioneering cinematic techniques and compelling narratives, with prizes conferred by an international jury presided over by the esteemed film-maker Baz Luhrmann.

In this piece, LIST Contributor Becky Lucas chats with the brilliant creative and acclaimed director.

What were your first thoughts when you were invited to head the jury at the Red Sea International Film Festival (RSIFF)?

I'm always interested in the new. I'm always interested in anything that's about emerging environments, particularly in storytelling and film terms. And there's probably no environment more dramatically emerging than the Middle East, and in particular, what's going on in Saudi. I've always been a great fan of Saudi anyway, ever since I saw the rather scratchy print of Lawrence of Arabia in our tiny cinema as a 10-year-old. That sort of buttoned me into that part of the world, so I've always been interested in the Levant, Middle East, everything of that type - I am drawn to it just naturally.

But the thing that really got me to commit was the recognition that Saudi is really, really genuine about opening up. Sixty-three percent of the country's population is under 30; it's a young nation with a young population. And young people deserve to have every opportunity open to them. When I think that for 35 years cinema was banned, and that it was only about five years ago that it opened up, and that Black Panther was one of the first early movies to arrive into Saudi then - it's clear how quickly cinema has now become a fore in Saudi's society. Cinema in theatres is shrinking in the rest of the world. In Saudi, it's growing. That's exciting for the young people of that territory and I'm here to support the new generation.

What has surprise you most about the Kingdom so far?

Before I committed, I went and made a very thorough visit to Saudi Arabia. And there's no question that the changes are so phenomenal and so profound and so quick that most people's information [about Saudi], even if it's six months old, is not accurate. And when you see so many women now, so active in all quadrants, but particularly a lot of women film-makers, film stars - they're a real driving force.

Have you spotted any unifying traits about Saudi film-making so far, or is it too early for you to say?

I think unifying traits aren't always a good thing. I think I'm going there to see what Saudi film really is. And I know that there are some really great energised young film-makers, and I'm going there with an open heart and an open mind. No matter where the storytelling is coming from. I think that you know a country is in trouble when it tries to silence its storytellers. So, anything I can do to keep a voce vis-a-vis the storyteller being heard, I'm grateful for.

Have you been inspired to bring any of your own projects to shoot in Saudi in the future?

I've seen the studios they're building and they are very impressive, and it certainly has my mind open and excited by the prospect. There are a few things I've been thinking about recently that could suit, so you never know.

Was there anything about Saudi's landscape that reminded you of Australia?

I grew up in the country, but I know our deserts very well. There's the kind of mindset you take on when you're in this kind of quiet, beautiful, brutal landscape that's so minimal in some regards and it does have a poetry about it. I mean, there's nothing like a desert in the night. When we went to AlUla, just to be out in the night-time desert, it just has a power upon you. It was quite similar in the north of Australia when I shot Australia the movie, so I was reminded of that.

What would your message to those who have not been able to attend the festival this year due to the situation in Gaza?

I know that we received very direct messages from film-makers because of the current situation. And they weren't able to travel. There was a real impassioned plea not to cancel the festival, because this was their change to have their stories heard, films seen, and I took that into account when I considered my position. I though this is probably not the time for me to hide away, it's a time to help film-makers, no matter who they are, and what their story is that they need to tell. We need stories to be told and we need the voices of storytellers to be heard.

Further to that, what would you say to any passionate film-makers who might be experiencing the situation close-hand right now?

It's always difficult when narrative is filtered through parties that are in conflict. It's the job of storytellers to try get to the humanity of any given situation. This is never to discount anyone's pain. All life is precious. And all human pain and suffering is pain and suffering. That unifies us. Storytellers are there to humanise that.

What advice would you give to young Saudis striving to get into the film industry today?

I think the energy in Saudi is an exciting energy. I went there to authenticate what the philosophy of leadership is, and it's to get off being oil dependent and to open the arts. I was amazed to be seeing an Andy Warhol exhibition in the middle of the desert [at the Maraya], which was curated by a young Saudi guy. I was amazed to be surrounded by such bright young people, men and women. It even amazes me that Barbie, which couldn't be seen in so many countries nearby, was actually a big hit in Saudi. Now that might, in a very simple way, indicate just how open cinema has become in this part of the world. And the thing that really got me on board was that the zone in which the festival takes place is a non-censorship zone. To think that a queer film was acknowledged at an arts festival is a gargantuan step towards the opening of human freedoms. And I think that's super important for the young.

Will you have time to see any films outside of the competition, and are there any films you're particularly looking forward to seeing?

I'll be seeing one short in particular later on in the competition - its called Titanic. I think its about the televising of Titanic, but under the Iranian censorship laws, and I cant help but think that it's going to be something relevatory and pretty funny.

Anything else you're really keen to do while you're at the festival?

I have been very lucky to have spent signifiant time in Saudi before the festival. I would recommend that people should go to AlUla and see the amazing House of Islamic Arts. I hope I get to wander in the Old Town at night, because that's so romantic and beautiful. And they've done such a great job with conservation there. I think that it is extraordinary the way they're conserving the the Nabataean burial sites in the AlUla area. If I can't do it because I'm working, certainly anyone with me, I shall encourage them to go to that. I'm looking forward to the beautiful environment, but most importantly, to experiencing the voices of storytellers, from the environment, from the territories, but also as far as Africa and Asia and all parts of the Middle East.

From November 30 - December 9, Jeddah

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