'Door is finally open': Cameras roll again in Syria as sanctions lift after a decade

The National

12 hours ago

For more than a decade, Syria's television industry operated under the weight of crippling sanctions, political isolation and dwindling resources.
What was once a regional powerhouse of drama – especially during the lucrative Ramadan season – faded as producers struggled with blocked funding channels, severed international ties and a shrinking market for distribution.
In a significant development reflecting Syria's evolving economic situation, the country's new leadership has finalised an agreement with Qatari company Al Maha International to construct a media and entertainment complex on the outskirts of Damascus.
This deal, celebrated as a key element of Syria's post-sanctions, comes on the heels of US President Donald Trump's recent decision to remove long-standing sanctions on the war-affected nation.
The focal point of the Qatari agreement is the City of Damascus Gate, an ambitious mega-project designed to establish Syria as a regional leader in film, television and tourism. Planned as a production city that combines cultural richness with modern efficiency, the complex will cover nearly two million square meters across the Damascus governorate.
It is anticipated that the site will become a regional centre for Arab television networks, film producers and media firms looking for an affordable yet culturally significant filming venue. The initiative is projected to generate more than 4,000 permanent jobs and an additional 9,000 seasonal positions, providing a crucial economic boost to the local labour market and a possible route to rejuvenating Syria's once-vibrant creative sectors.
This announcement arrives amid a surge of foreign interest in Syria's previously stagnant industries, especially in tourism, real estate and entertainment.
The lifting of US sanctions may mark a turning point for Syria's constrained television industry. For leading showrunners and industry veterans like Ahmad Alshiekh, who has been bringing some of the country's best productions in difficult times, it feels less like a diplomatic gesture and more like an existential reset.
'The lifting of US sanctions is not just symbolic, it's a potential reset button for the entire Syrian film and television ecosystem,' Shiekh tells The National.
'For over a decade, the industry operated under tremendous constraints, cut off from global resources, partnerships and even basic tools of the trade. Now, for the first time in years, there's space to rebuild with proper structure, transparency and international collaboration. It won't happen overnight, but the door is finally open.'
The effects, he says, won't be limited to economic logistics. The most immediate change is psychological. 'Once the fear of legal and financial complications fades, doors naturally open,' Shiekh explains. 'I expect regional distributors, broadcasters, and even advertisers to re-engage first. Production will follow, but not just in quantity, in quality.'
That quality, long praised in Syrian drama for its emotional depth and sharp social commentary, has suffered in recent years. Yet the foundation remains. Shiekh believes the industry's core strengths – strong narratives and culturally grounded storytelling – position it for a powerful return, especially if professional standards can be restored and co-productions with regional and international partners flourish.
'The real opportunity lies in restoring professional standards, improving production value, and building co-productions with trusted partners inside and outside the region,' he says. 'As for funding, it's never just about access, it's about confidence, and that will take time to rebuild. But this is the first real step.'
The goal is not just recovery, it's global relevance. Shiekh is confident that, with the right foundations in place, Syrian series can compete internationally not as underdog curiosities, but as compelling, high-quality productions.
'The potential is undeniable,' he says. 'Syrian drama has always had a unique voice in the Arab world, and international audiences are more receptive than ever to authentic, culturally rich storytelling. But let's be realistic – growth requires more than the lifting of constraints. It takes vision, infrastructure, professional standards and smart partnerships.'
That international vision may not be so far off. Streaming giants like Netflix and regional platforms like Shahid have already expanded their Arabic content portfolios in recent years. With sanctions out of the way, Shiekh suggests that conversations with major platforms are quietly already under way.
'Platforms like Netflix and Shahid are constantly searching for fresh, authentic narratives,' he says. 'Syrian content has always delivered on depth and drama, but until now, the logistical and legal complexities kept the big players hesitant. With those barriers easing, I believe we'll see Syrian stories finding their place, not just as niche titles, but as part of mainstream Arab and global line-ups.'
One of the clearest markers for a Syrian television revival will be next year's Ramadan season. Often dubbed 'TV's Super Bowl' in the Arab world, it's historically been a defining showcase for Syrian drama. Shiekh believes 2026 could mark a comeback, if the industry steps up.
'Ramadan has always been the stage where Syrian drama made its mark, not just in the region, but across the Arab world,' he says. 'But the reality is, for the past decade, that golden period was dimmed by logistical, financial, and political obstacles. Now, with restrictions easing, we have the opportunity, not the guarantee, to reclaim that position.
'But success won't come from nostalgia alone. It will depend on whether we as an industry can deliver the kind of high-quality, relevant and technically strong productions that audiences expect today. If we get that right – and I believe many of us are ready – the 2026 Ramadan season could mark the true comeback of Syrian drama on screens across the region.'
For award-winning Syrian-Palestinian director Anas Zawahri, the lifting of US sanctions on Syria is a potential rebirth of an industry that has long struggled to survive under isolation.
'The lifting of sanctions marks a real turning point for Syrian television and film,' Zawahri tells The National. 'For over a decade, we've been creatively and financially paralysed. Sanctions made it nearly impossible to collaborate with institutions abroad or to access even the most basic forms of funding and support. We were working in a vacuum.'
Zawahri, who was born in 1987 and resides in Damascus, is part of a new wave of Syrian creatives who have persisted despite those constraints. His award-winning documentary, My Memory is Full of Ghosts, was produced independently and went on to receive international acclaim. The film chronicles the shattered lives of Homs residents who returned to find their city reduced to rubble, haunted by war, displacement, and silence. It won the Anhar Award for Best Human Rights Film at the 2024 Karama Human Rights Festival in Jordan and was screened widely across the Arab world and Europe.
'That film came from a place of truth, of loss, of memory and of confrontation. We told stories about arrests, torture, and displacement at a time when even speaking about those things was dangerous,' he recalls. 'There was no support. No structure. We were completely on our own.'
Now, with sanctions lifted, Zawahri sees new opportunity on the horizon – not just for himself, but for the industry as a whole.
'We're already seeing the change. Investors are coming in. Producers who were once hesitant worried about reputational or legal risks are re-engaging. Syria is fertile ground for storytelling, and it's cheaper to operate here than in Lebanon or the Gulf. The potential is massive.'
While he admits that the revival of Syrian cinema will take time, Zawahri says the television industry is poised for immediate growth.
'Television is the heart of Syrian culture. We're a series-driven country. Syrian dramas have long held a regional reputation. Now, with fewer restrictions, we can begin to tell more daring stories, stories about the brutality of the past decade, the revolution, the regime's violence – subjects that were once completely taboo.
'This moment offers a real chance to build something new. But we need support: funding, festivals, platforms to promote our work. Syrian drama is trending again, not just in the region, but globally. The next few years could define a generation of new creators.'
For Zawahri, who identifies as a Syrian-Palestinian refugee and self-taught filmmaker, the end of the sanctions era is a rare moment of possibility, one that he hopes will not be wasted.
'We've paid the price. We've waited in silence. Now it's time to create again and to be heard.'