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-5.1%BY STEVEN ZEITCHIKEndorsements for a documen-
tary don’t o ften come from a high-
er-profile person than Hillary
Clinton. At the Sundance Film
Festival in January, the former
secretary of state not only turned
out for the premiere of “The Dissi-
dent,” a new documentary about
the killing of Jamal Khashoggi,
but also talked it up afterward.
“If you haven’t seen ‘The Dissi-
dent,’ I hope you will,” Clinton
told festivalgoers about the mov-
ie, which implicates Saudi Ara-
bia’s rulers in the killing of the
Washington Post columnist and
slams Western companies for en-
abling the kingdom’s a buses. Hol-
lywood voices such as Sean Penn
later voiced their enthusiasm for
the film, joining a raft of glowing
reviews and making the movie
feel like a slam dunk for a content-
thirsty distributor.
Ye t nearly seven weeks after its
Sundance premiere, no buyer has
stepped up to acquire the film —
an unusually long period of time
in a market where most well-re-
garded movies find deals at the
festival or just days after, as Netf-
lix did for the Alexandria Ocasio-
Cortez movie “Knock Down The
House” last year or Apple for the
coming-of-age Te xas political
documentary “Boys State” this
year.
That reluctance, particularly
from global streamers Netflix and
Amazon, has raised fears among
experts that media companies are
acceding to an authoritarian re-
gime and confirming the film’s
critique that Western companies
enable Saudi Arabia’s lawless be-
havior. (Amazon chief executive
Jeff Bezos owns The Post.)
“Without being inside the com-
panies, it’s hard to know what the
factors really are for someone not
to distribute the movie,” said Yas-
mine Farouk, a fellow specializing
in the Middle East at t he Carnegie
Endowment for International
Peace, a nonpartisan think tank.
“But it wouldn’t at all surprise me
if economic and financial inter-
ests are the main motivations
here. Money has been what’s sus-
tained the U.S. relationship with
Saudi Arabia for 75 years.”
Documentary films have taken
on an outsize journalistic role as
news outlets have faced cutbacks,
diving into stories and making
them popular via major plat-
forms. But the distribution hur-
dles faced by “The Dissident”
highlight the dangers inherent to
such a partnership — the poten-
tial for conflict between muckrak-
ing filmmakers and the risk-
averse companies enabling their
efforts.
A decorated team of filmmak-
ers has quietly been putting to-
gether their own documentary
about Khashoggi. “Kingdom of
Silence” is produced by a Pulitzer
Prize-winning journalist, Law-
rence Wright, and an Oscar-win-
ning documentarian, Alex Gib-
ney. T heir film also centers on the
October 2018 death of Khashoggi,
casting it against the historical
backdrop of U.S-Saudi relations.
Filmmakers for that project
have secured the buy-in of Show-
time; the ViacomCBS division fi-
nanced and will air the film. But
they are still seeking a theatrical
distributor to give the story an
elevated platform in the United
States — a release freighted with
uncertainty.
At a moment when many activ-
ists worry that Saudi Arabia’s al-
leged abuses under Crown PrinceMohammed bin Salman are in
danger of fading from public con-
sciousness, U.S.-based Saudi ex-
perts say the competition to reig-
nite interest is heartening.
But they also note that theuphill climb these films face in
capturing distributor and audi-
ence interest underscores the
very risks they warn of.
“I don’t know what the right
word is — censorship or repres-
sion or something else,” said Sha-di Hamid, a senior fellow at the
Brookings Institution who focus-
es on U.S. relations with the Is-
lamic world. “But the basic point
holds — a powerful regime that
doesn’t have the same scruples asothers is creating a culture of fear,
and companies react with kow-
towing.”
“The Dissident” has been an
especially thorny case. The film’s
director, Bryan Fogel, told The
Post i n January that he very muchwanted a streaming deal, as op-
posed to theatrical distribution,
which would require piecing to-
gether agreements in the United
States and internationally. Fogel’s
previous film, the Russian whis-
tleblowing tale “Icarus,” was dis-
tributed by Netflix. It won an
Oscar and had a significant effect
on athletic doping policies as a
result of its wide distribution.
Reviews suggested a similar
deal was more than plausible for
“The Dissident.”
Variety called the film “a docu-
mentary thriller of staggering rel-
evance... [with] urgent colliding
themes of free speech, power,
greed, technology, violence, and
the increasingly global nature of
government tyranny.”
Netflix, Amazon and Apple
would each be likely distributors,
given their frequent pursuit of
timely and buzzy documentaries.
Each of those firms, experts
note, though, would also have
disincentive to buy “The Dissi-
dent.”
Amazon is a prime player in the
film, as the movie lays out the
findings of U.N. i nvestigators that
Mohammed was involved inhacking Bezos’s cellphone, poten-
tially putting Amazon in a com-
plicated position if it comes on as
a distributor.
The film also shows the ease
with which an iPhone can be
hacked, potentially dissuading
Apple.
And Netflix has capitulated to
the Saudi government before, re-
moving an episode of the Hasan
Minhaj series “Patriot Act” i n Sau-
di Arabia last year after the gov-
ernment complained about a joke
that suggested Mohammed or-
dered Khashoggi’s killing. The
company is also looking hard at
international expansion as sub-
scriber growth in the United
States slows.
Fogel has said that fears of
economic reprisal are at the cen-
ter of streamers’ reluctance to
pick up the rights to his project.
“I’ve come to the realization
that the major global distributors
are scared of this film,” he told a
screening hosted by Penn and
Alec Baldwin last week. “Winning
an Academy Award for Netflix
was not enough to make them
step up to the plate.”
Fogel declined to comment to
The Post f or this story. S pokespeo-
ple for Netflix, Apple and Amazon
also did not comment.
As the weeks go by without a
streaming deal for “The Dissi-
dent,” its competitor, “ Kingdom
of Silence,” is speeding ahead un-
der the auspices of Gibney.
“What we are aiming to tell is a
beautiful haunting story of a man
[Khashoggi] discovering himself
even as he’s fighting for the road
he thinks his country should be
on,” Gibney said in an interview.
“A nd,” he added, “how much the
U.S.-Saudi dynamic is a toxic rela-
tionship governed by money.”
Gibney said the film was born
of discussions he and Wright had
about a congressional memorial
for Khashoggi. They d id not know
about the Fogel film until their
project was well underway.
Footage of their film has re-
cently been shown to distribu-
tors, and Gibney said the project
was “almost done.” The aim, he
said, was for a theatrical release
this year followed soon after by a
Showtime airing. He said the net-
work has “stepped up and never
regretted, never asked us to soft-
pedal or step back” its critique of
Saudi Arabia.
Still, questions about the theat-
rical possibilities hover as major
chains seek their own entrance to
the Saudi market. AMC opened its
first theater there in 2018 and is
seeking to build out 40 more in
the next five years.
[email protected]Fierce battle to bring a Khashoggi film to viewers unfolds
2 documentaries criticize
Saudi Arabia and face
distribution concernsMAtt McclAIn/tHe WAsHIngton Post
Protesters r ally outside the Embassy of Saudi Arabia in Washington in October 2018 over the disappearance of Washington Post columnist
Jamal Khashoggi. A month later, the CIA concluded that Saudi Crown Prince Mohammed bin Salman ordered Khashoggi’s death.“Without being inside the companies, it’s hard to
know what the factors really are for someone not
to distribute the movie. But it wouldn’t at all
surprise me if economic and financial interests are
the main motivations here. Money has been what’s
sustained the U.S. relationship with Saudi Arabia
for 75 years.”
Yasmine Farouk, a fellow at the carnegie endowment for International Peace,
discussing “the Dissident”