Mariam Naoum on the Struggle for Arab Series to Find Buyers

The Current Landscape for Arab Series

Arab television has witnessed a surge of original storytelling in recent years. From drama to comedy, creators are experimenting with formats that reflect regional cultures while appealing to global audiences. Yet, despite a growing pool of writers, directors and producers, many series never reach the screens where they could thrive.

Creative Talent vs Market Access

According to Mariam Naoum, a veteran screenwriter and producer, the region is rich in ideas but poor in pathways to market. She notes that writers often finish scripts only to encounter a bottleneck of buyers who lack confidence in the commercial viability of Arab content. "We have stories that resonate deeply," she says, "but the distribution network does not give them room to breathe."

The gap is not merely financial. It also involves the time needed for development, mentorship and strategic positioning. Without these elements, even the most compelling projects can stall before they find a broadcaster or streaming platform.

CineGouna Series: A New Development Platform

In response to these challenges, the El Gouna Film Festival launched CineGouna Series, its first development program dedicated to television series. The initiative aims to nurture ideas from concept to pitch, providing creators with resources that were previously hard to access.

Program goals and structure

The program offers a three‑month intensive that includes script labs, mentorship from experienced producers and direct connections to potential buyers. Participants receive feedback on narrative structure, character arcs and market positioning. At the end of the cycle, a showcase event invites regional broadcasters, streaming services and international sales agents.

Naoum, who serves as the head of the program, emphasizes that the goal is not simply to create content, but to build sustainable careers. "We want writers to understand how to package their series for different markets," she explains. "That knowledge is as valuable as the story itself."

Challenges Highlighted by Mariam Naoum

During a recent interview at the festival, Naoum outlined three primary obstacles that Arab series face.

Financing and Distribution Gaps

First, funding models often favor short‑form projects or feature films, leaving series with limited budgets. This financial constraint hampers the ability to produce high‑quality episodes that meet international standards.

Limited Development Time

Second, the fast‑paced production cycles in the region leave little room for thorough development. Writers are pressured to deliver scripts quickly, which can compromise narrative depth and originality.

Buyer Hesitancy

Third, many buyers remain cautious about investing in series that deviate from familiar formats. Naoum points out that the lack of successful case studies reinforces this hesitancy, creating a cycle where risk‑averse decisions limit exposure for new voices.

Potential Paths Forward

Naoum believes that coordinated efforts across the industry can break the cycle of stagnation. Below are several strategies she recommends.

• Establish regional co production funds that pool resources from multiple countries, reducing financial risk for individual producers.
• Develop long term mentorship programs that pair emerging writers with seasoned creators, ensuring knowledge transfer beyond a single project.
• Encourage broadcasters to allocate dedicated slots for experimental series, providing a testing ground for unconventional narratives.
• Leverage digital platforms that specialize in niche content, allowing series to reach audiences without traditional gatekeepers.

These measures require collaboration between governments, private investors and cultural institutions. Organizations such as the UNESCO have highlighted the importance of supporting creative industries as a driver of cultural diplomacy and economic growth.

Role of Film Festivals and Market Events

Film festivals across the Middle East are increasingly incorporating series markets into their agendas. The El Gouna Film Festival itself hosts a dedicated series market where producers can pitch directly to buyers. Such events create a visible platform for Arab series and signal to investors that the market is evolving.

Similarly, the Arab Film Center offers research and networking opportunities that help creators understand audience trends across the region. By aligning development programs with market insights, creators can tailor their projects to meet both artistic and commercial expectations.

Looking Ahead

Naoum remains optimistic that the current momentum will translate into lasting change. She notes that the first cohort of CineGouna Series participants has already secured interest from several streaming services, marking a promising start.

For the Arab television ecosystem, the path forward involves balancing creative ambition with pragmatic market strategies. When writers receive the time, mentorship and exposure they need, the region’s stories can reach a wider audience and contribute to a more diverse global media landscape.