Jordan is aggressively positioning itself as a burgeoning international and regional production hub, driven by a significantly revamped cash rebate program and robust governmental support. Unveiled at the Cannes Film Festival, the new rebate system offers a tiered return of up to 45% on local spending, coupled with an automatic exemption from the Kingdom’s 16% VAT and 10% withholding tax, leading to potential combined savings of up to 56%. This strategic move responds to a global increase in film incentives, with the Royal Film Commission (RFC) reporting an “overwhelmingly” positive response and a surge in new projects, including Reed Van Dyk’s “Atonement,” which has already benefited from the new scheme. The process, previously complex and project-negotiated, is now streamlined, transparent, and less bureaucratic, making Jordan an even more attractive destination for producers.

Beyond the enhanced financial incentives, Jordan is dedicated to building a sustainable and comprehensive film ecosystem. The country aims to become the “Korea of the Middle East,” as stated by RFC’s Ahmad Khatib, fostering a blend of global exports and a thriving local industry. This ambition is supported by expanding infrastructure, including the launch of Olivewood Studios, Jordan’s first full-fledged studio complex. The RFC emphasizes Jordan's unique appeal, which rests not only on rebates and infrastructure but also on its reputation for safety, stability, and an increasingly skilled talent pool. Arab Nasser, a director who frequently shoots in Jordan, highlights the country’s role as a “safe haven” amidst regional conflicts, further noting the deep sociopolitical and cultural kinships shared with neighboring territories. Jordanian film crews are widely regarded as among the best in the Arab world, with decades of experience from large-scale studio productions ensuring a constant stream of trained professionals. Productions in Jordan typically comprise 50% local crew, who are both highly professional and available at competitive rates.

Jordan’s diverse and dramatic landscapes have long served as a captivating backdrop for filmmakers, capable of doubling for various global locations, from Washington and Palm Springs to the alien terrains of Mars and Arrakis, or even the streets of Gaza and Abbottabad. While keen to accommodate productions that require Jordan to stand in for other locales, the Royal Film Commission also actively encourages projects that showcase the Kingdom’s unique cultural and geographical identity. A new incentive offers an additional 10% rebate for films that shoot “Jordan for Jordan,” based on a cultural test, sustainability practices, filming days, and local crew hiring. This strategy underlines film's role as a powerful tool for promoting tourism and enhancing Jordan’s international image.

The Kingdom boasts a remarkable cinematic legacy, having hosted iconic Hollywood blockbusters that have cemented its place on the global film map. David Lean’s Oscar-winning epic “Lawrence of Arabia” (1962) first put Wadi Rum on screen, followed by Steven Spielberg’s “Indiana Jones and the Last Crusade” (1989), which transformed Petra’s Al Khazneh into a pop-culture landmark. More recently, Denis Villeneuve’s “Dune” (2021/2024) extensively utilized Wadi Rum to define the desert planet Arrakis, while Ridley Scott repeatedly returned for films like “Prometheus” (2012), “The Martian” (2015), and “All the Money in the World” (2017). Kathryn Bigelow’s “Zero Dark Thirty” (2012) leveraged Jordan’s stability for sensitive political material, and Guy Ritchie’s “Aladdin” (2019) tapped its desert expanses for a fantastical setting. These productions, often coordinated by the RFC, underscore Jordan’s reliability for complex shoots and its capacity to provide otherworldly yet authentic landscapes.

Parallel to attracting international blockbusters, Jordan is nurturing a vibrant local and regional film industry. Naji Abu Nowar’s “Theeb” (2014) garnered an Oscar nomination and BAFTA, demonstrating the global appeal of authentic Jordanian narratives. Netflix’s first Arabic-language original series, “Jinn” (2019), and later the globally successful “AlRawabi School for Girls” (2021, 2024), both shot entirely in Jordan, marked significant milestones for local content reaching international audiences. The current slate of Jordanian titles reflects this dynamism, ranging from festival-lauded dramas to ambitious projects in development. These include Zain Duraie’s TIFF and BFI-selected “Sink” (2025), Bayan Abuta’ema’s “From Temporary to Semi-Permanent,” Hamza Hamideh’s Cannes Docs award-winning “Asphalt,” and Amjad Al Rasheed’s “Inshallah A Boy” (2023), which premiered at Cannes Critics’ Week and earned over 40 awards for its critique of patriarchal inheritance laws. Other notable upcoming projects include Kinda Kurdi’s “The Last Mayor of Jerusalem,” Tamir Naber’s “Six 2 One,” the Canada-Jordan co-production “The Orange Grove” by Murad Abu Eisheh, Sareen Hairabedian’s personal documentary “My Sweet Land” (2024), and Sondos Smerat’s social critique “Simsim” (2025).

Jordan is committed to supporting both large-scale international ventures and crucial independent productions, recognizing that the latter are vital for a sustainable ecosystem. The RFC now offers an advance payment of 10% of the rebate (capped at $100,000) for smaller projects and is collaborating with local banks to provide attractive loans and subsidies. With American studios returning and a rich pipeline of diverse films, Jordan continues to cement its reputation as a strategic and welcoming destination for filmmakers from around the globe, ensuring its cinematic landscape remains vibrant and multifaceted.