
VOX Cinemas unveils powerful brand video celebrating its role in the magic of movies
More than just a tribute to cinema, the brand video celebrates how VOX Cinemas has become the setting for countless personal milestones—family outings, friendships, and nostalgic returns. It tells the story of one boy's journey through life, anchored in moments spent at VOX Cinemas, where movie nights become something magical.
'At VOX Cinemas, we've been leading the evolution of the cinema experience and the quality offered not just in the region, but on a global scale,' said Ignace Lahoud, CEO of Majid Al Futtaim – Entertainment. 'But the true heart of our story is our customers. For years, they've trusted VOX as the place where memories are made—where laughter, love, and even quiet reflection come to life. This brand video is a tribute to that relationship. We set out to create something that reflects this emotional connection—and through the story, visuals, and Hans Zimmer's unforgettable score, we believe we've done just that.'
VOX Cinemas has been shaping unforgettable moviegoing experiences across the Middle East for 25 years, becoming a cornerstone of people's most cherished moments. Though VOX may not have operated in every country for the same amount of time, the brand's emotional connection transcends borders. Many customers across the Middle East remember visiting VOX Cinemas while traveling or on holiday, experiencing the same sense of joy, comfort, and wonder. These moments are not just about watching movies—they're about experiencing something special, together.
And that experience continues to evolve. At VOX, every visit feels like your first. Whether it's a new cinematic concept, exclusive content, gourmet dining, or immersive technology, VOX continues to push the boundaries and define what entertainment means in the region. It's not just about going to the movies—it's about creating a moment that stays with you.
An essential part of bringing the brand video to life was the music. To match the emotional depth of the visuals, VOX partnered with legendary composer Hans Zimmer, whose original score amplifies the story's emotional arc—from childhood wonder to the nostalgia of shared family traditions.
'We wanted a sound that was cinematic at its core, but unmistakably VOX,' said Hans Zimmer. 'Arabic instruments, Hollywood orchestration, and those unforgettable 90s sounds come together to tell a story that's emotional, timeless, and true to the region. VOX has truly pioneered the cinema experience in the Middle East—a region that is very close to my heart—and I wanted to reflect the role they've played in shaping people's most cherished memories.'
Zimmer's original score blends cinematic strings, electric and bass guitars, drums, iconic 90s synths, and a unique fusion of Hollywood-style orchestration with Arabic instruments. The result is a powerful and deeply resonant soundscape that heightens every emotion in the film—from awe and anticipation to nostalgia and love.
'Fall in Love with Film' is more than a campaign—it's a celebration of the role VOX Cinemas continues to play in people's lives. As the brand looks to the future, it remains committed to pushing boundaries, leading innovation, and creating unforgettable moments for generations to come.
Here is the link to the video:
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles

Times of Oman
20-07-2025
- Times of Oman
World's largest inflatable park now open in Oman
Muscat: The "Ateen Square" events in Salalah, organised by Dhofar Municipality as part of the Dhofar Khareef Season 2025, have opened. The square, which is an integrated tourist, entertainment, and cultural destination that attracts citizens, residents, and visitors to the governorate, will continue to remain open until August 31. This year, "Ateen Square" has a new look, combining entertainment, arts, culture, and shopping, amidst an interactive atmosphere that meets the aspirations of various segments of society, especially families and youth. The daily events include a variety of entertainment shows, including environmentally friendly fireworks displays and drone shows that illuminate the skies of the Ateen Plain with innovative visual effects. The "Galaxy" show, featuring space costumes and interactive lights, is also featured, as is the "Crew Show," a show inspired by the international program "Got Talent," which combines acrobatic movements and exciting athletic performances. Ateen Square also features innovative artistic performances, including the "Emoji Show," which presents 20 emojis in a fun, interactive way. It also features shadow and fantasy shows featuring international artistic groups, including the Mexican Latin Band and the Arjola Band. Folklore performances organised by UNESCO feature diverse international cultural participation. Daily carnival events include the "Music Carnival," featuring European bands, the "European Carnival," presented by Russian bands with oriental musical performances, the "Hundred Carnival," featuring 100 participants with diverse performances, the "Peter Carnival," featuring a female dancing troupe, the "Hot Air Balloon Carnival," featuring innovative costumes in the shape of balloons and the "Glowing Balloon Carnival," a light-based version of the hot air balloon show. The square also hosts the largest inflatable amusement park for children in the Sultanate of Oman, providing a safe and enjoyable entertainment environment under the supervision of specialized teams to ensure child safety. A highlight of the events is the "Culture and Literature Street," which offers visitors the opportunity to interact with a number of writers, poets, and visual artists through workshops and live artistic simulations that enhance the cultural scene. This year, the main stage of Ateen Square features a design inspired by the mountainous nature of Dhofar Governorate. It features a towering mountain, supported by modern display technologies including laser effects, interactive screens, and waterfalls, providing an integrated platform for visual and artistic performances. Ateen Square also features dedicated areas for displaying local women's products, including perfumes, incense, and clothing with a modern heritage style. This supports entrepreneurs from small and medium enterprises and enhances the role of women in economic activity. It is worth noting that these diverse events contribute to consolidating Ateen Square's position as one of the most prominent landmarks of the Dhofar Autumn Season 2025, offering an integrated tourism, cultural, and entertainment experience that enriches the governorate's social, tourism, and economic activity.


Observer
11-07-2025
- Observer
The epic rise of Baybars, the Panther Sultan
If you're a 90's high school graduate, you must remember the novel 'Wa Islamah' written by Yemeni author Ali Ahmed Ba'katheer and read in Arabic classes. You must also remember the super-long Egyptian movie by the same name produced in 1961 starring Ahmed Mazhar and Lubna Abdul Aziz (while researching this article I discovered that this movie was directed by two directors: Italian Enrico Bomba - who was also the writer and the producer - and Hungarian-American Andrew Marton. It had two names, La Spada del'Islam and Oh Islam. The movie follows the story of the Mamluk Sultan Saif Al Deen Qutuz from birth to his death in 1260. As for the novel, I wasn't a fan as I found the romance between Sultan Qutuz and princess Julnar tedious. However, the side character that always fascinated me was the Sultan's friend Baybars - another Mamluk from a humble background - who ruled after his sudden death. As I'm now in the phase of catching up with Arabic historical series on YouTube that I either missed or never heard of, I came across a Ramadhan series by the name Al Zahir Baybars that was broadcasted in Ramadhan of 2005 (unfortunately no English subtitles provided). The series talks about the rise of Baybars (1223/1228-1277 AD) from a Mamluk slave to becoming the Sultan of Egypt. Baybars was a Kipchak (a tribe form the north of the Black Sea) whose name meant great panther. As a young boy, his parents were massacred by the Mongols and he was sold into slavery. When reaching Egypt, he's bought by Alaa Al Deen al Bunuduqdari, a high rank official who when losing favour with the Ayyubid Sultan Al Saleh Ayub ends up fleeing, leaving behind all his possessions. Under the new Sultan, Baybars joins the Bahari Mamluks headed by Faris Al Deen Aktai and meets his new comrades: Izz Al Deen Aybak and Qutuz. After the death of the Sultan, his wife Shajar Al Durr decides to marry Aybak to maintain her status quo. The power-loving wife manipulates Aybak and orders him to assassinate Aktai when she senses his dissatisfaction with her decisions and fears a future military coup lead by him. Consequently, Baybars flees to Levant with his deputy Qalawun and a few loyal soldiers where he keeps travelling for years between different countries trying to convince rulers to help him invade Egypt. However, things change after Qutuz come to power and asks Baybars to return to Egypt and under his command, the Mongols are defeated in the battle of Ain Jalut in 1260. When Qutuz is assassinated, Baybars becomes the first Sultan of the Bahri Mamluk Dynasty and entitles himself Al Zahir (the discernible). During his 17 years of reign, he ends the presence of the Crusaders in Levant, develops Cairo's infrastructure, builds mosques, libraries, and funds scientific research. He also establishes the first waqf garden that provides food and shelter for stray cats. The series highlights the political and military side of Baybars life which made it interesting. Abid Fahad who plays Baybars was convincing but this can't be said about the rest of the cast who were struggling to speak in Classic Arabic, especially Aybak and Qutuz. Besides, director Mohammed Aziziya's signature battle scenes were too long at times (with close shots of smiling extras supposedly facing death) and some historical facts were tampered with like the death of Aybak and his wife Shajar Al Durr. The fun part was the opening song lyrics that sent viewers on heated discussions in different forums trying to decipher the lyrics and the language used. Rasha Al Raisi The writer is the author of 'The World According to Bahja'


Observer
03-07-2025
- Observer
Short-Form Supremacy: How TikTok, Reels, and YouTube Shorts Changed Storytelling
In the age of information overload, brevity is power. The meteoric rise of short-form video platforms—TikTok, Instagram Reels, and YouTube Shorts—has reshaped not only how we consume content but also how we tell stories. Once, a compelling narrative demanded time and attention; now, it must compete for a swipe, a like, and a few precious seconds of someone's scrolling. This shift has had seismic effects on storytelling, from how creators engage audiences to how legacy institutions like newspapers and broadcasters reconsider their roles in the digital age. TikTok's global dominance is supported by figures: as of January 2024, TikTok had over 1.56 billion monthly active users worldwide, according to Statista (2024). The average user spends around 95 minutes a day on the app (DataReportal, 2024), a staggering amount of screen time that has prompted creators to distil their stories into fast, engaging formats. Its success has led Instagram and YouTube to prioritise short-form videos through Reels and Shorts, respectively. YouTube Shorts, for example, exceeded 70 billion daily views by mid-2023 (Google, 2023). Renowned local influencer Sultan Al Balushi explained, 'Social media plays a huge role nowadays; people read less and watch more. There's a trust that comes from seeing something visually. With platforms like TikTok and Instagram Reels, storytelling needs to be more immediate and relatable. You're not just telling a story any more; you're showing it. That shift has changed how we connect with audiences — attention spans are shorter, but the emotional impact can be greater if you get it right.' In the Gulf, the rise is equally notable. In Oman, TikTok had approximately 1.1 million active users by early 2024, accounting for nearly 20% of the population (DataReportal, Oman 2024). In Saudi Arabia, over 26 million TikTok users have been recorded, with a penetration rate of 73% — making it one of the platform's strongest markets globally (Statista, 2024). Instagram Reels and YouTube Shorts are also thriving, especially among users aged 18–34, who form the digital core of the GCC's population. Short-form video has redefined storytelling. Traditional narrative arcs have been condensed or reimagined, replaced by bursts of mood, visuals, and relatability. A 15-second skit in an Omani dialect or a drone shot of a remote wadi can now convey a richer sense of place than lengthy travel articles. These micro-narratives thrive on aesthetic and emotional resonance, rather than conventional structure. Equally transformative is who gets to tell the story. In Oman, social creators and a new generation of local influencers have built digital communities showcasing humour, nature, and regional pride, often in both Arabic and English. Their success reflects a wider regional trend, where democratisation of content creation has allowed voices from small towns to reach a global audience without institutional backing. According to a Statista Global Consumer Survey (2023), more than 50% of Gen Z users in the MENA region prefer discovering content via TikTok or Instagram over traditional media channels. These platforms are becoming entry points not just for entertainment but also for awareness, activism, and community-building. In Oman, initiatives such as turtle conservation, local crafts, and anti-plastic campaigns have gained traction through Reels and Shorts, often reaching audiences that traditional outreach cannot. Short-form video is particularly suited to our distracted, mobile-first lifestyles. A study by Microsoft Canada suggested that the average human attention span has fallen to around 8 seconds in the digital age (Microsoft, 2015). TikTok's internal data supports this trend: videos under 30 seconds consistently perform better in terms of completion and sharing (TikTok for Business, 2023). The format also bridges linguistic and cultural divides. In Oman and the wider Gulf, creators often alternate between Arabic and English, with subtitles making content more inclusive. This fluidity helps local stories resonate globally. For example, traditional Omani music or fashion becomes viral, not just as cultural heritage, but as part of global trend cycles—remixed, duetted, and restaged by users worldwide. Long-form journalism, however, faces growing challenges. Traditional media outlets are contending with a new wave of content creators who can break down complex stories in under a minute. According to the Reuters Institute Digital News Report (2023), over 60% of users under 35 prefer to consume news via video—especially short formats—rather than lengthy articles or traditional broadcasts. In Oman, this trend is reflected by younger audiences turning more to platforms like TikTok for explanations and Instagram for quick headline updates. This doesn't mean long-form journalism is obsolete. Deep investigations, policy analysis, and multi-source reporting still matter — perhaps more than ever. But the path to engaging audiences now often begins on platforms designed for short, visual bursts. Newsrooms are adapting their strategies accordingly. International examples such as The Washington Post's TikTok account (which now has over 1.6 million followers) demonstrate that it's possible to tell substantial stories in playful, digestible formats. Similar initiatives are emerging in the Gulf, involving Arabic-language explainers and cross-platform storytelling strategies to reach younger, digital-savvy audiences. However, short-form content also introduces risks. Misinformation can spread rapidly, exploiting the speed and emotional appeal of these platforms. A landmark MIT study revealed that false news is 70% more likely to be retweeted and spreads six times as fast as truth on social media (Vosoughi et al., Science, 2018). To counter this, Gulf countries have introduced stricter digital regulations. In Oman, Royal Decree 12/2011 on cybercrime (updated in 2018) criminalises the dissemination of false information that could disturb public order, with penalties including fines and imprisonment. The UAE's Federal Decree Law No. 34 of 2021 further criminalises fake news, imposing up to two years' imprisonment and fines of AED 100,000, and requiring social media influencers to register with authorities. Saudi Arabia's Anti-Cybercrime Law enforces similar penalties, with fines reaching SAR 3 million and up to five years' imprisonment for online misinformation. Kuwait's Electronic Media Law mandates registration for digital publishers, while Qatar's Penal Code amendments criminalise spreading false news—both with potential jail terms of up to five years. These laws reflect a regional consensus: viral content must be held accountable. There's also the danger of oversimplification. Complex issues—such as labour reforms, climate policies, or foreign relations—are often reduced to punchy soundbites. Moreover, cultural sensitivities need to be considered; missteps can provoke backlash or legal repercussions in tightly knit societies. Yet, the answer is not to reject short-form storytelling, but to evolve alongside it. The future lies in hybrid formats—TikTok videos that lead into podcasts, Reels that serve as visual abstracts of feature articles, or Shorts that tease full-length documentaries. Skillful producers are learning to connect formats and craft narratives that span multiple platforms, creating a cohesive story ecosystem. Audiences—especially the youth—are not disengaged; they are simply consuming content in ways that reflect their lifestyles: on the move, socially embedded, and visually oriented. The challenge for storytellers is not whether storytelling still matters, but how quickly they can deliver compelling narratives—and whether those stories leave an impact once the scroll stops. In conclusion, short-form video has revolutionised storytelling in the Gulf and beyond, matching our increasingly fast-paced and digitally connected lives. While it brings new opportunities for engagement and diversity of voices, it also demands responsibility and innovation. Embracing hybrid storytelling models and upholding journalistic integrity can ensure that the power of storytelling continues to thrive amid the rapid currents of digital change.