Tasheel
Treatment
byRamez Khalifa
Personal Finance · 3 Films × 20s
تسهيل بدون تأجيل
تسهيل بدون تأجيل
Cinematic visuals. Relatable comedy.
Everyday situations, playful camera work, and a narrator who believes he's in control of the story.
The brief's shape stays exactly as it is: a relatable situation, a quick hook, a simple Tasheel payoff.
What I'm adding is a tone. Every film is shot as if it matters far more than it does, and told by a voice who's sure he knows how it ends.
Somewhere between the two is the comedy.
He tells the story. They react to it.
A confident narrator describes our characters' lives. They can hear him. They react to his commentary, and every now and then they challenge his version of events without saying a word.
He thinks he's in charge of the story. The characters aren't so sure.
Three rules for the voice.
The narrator is the engine of the comedy. These rules keep him funny and keep the films about the characters.
Calm, confident, a little grand. He introduces each character like the subject of a documentary that's far too serious for a wedding budget.
A glance, a pause, a slow turn toward the voice. Never a line of dialogue. Their faces do the arguing.
When he finally offers the solution, they're with him. That turn toward the voice is the hook of every film.
Casting the voice: a warm Saudi male voice with documentary gravity. He never mocks them. He just enjoys the story a little too much.
Taking ordinary moments a little too seriously.
Deliberate compositions and dramatic camera moves create unexpected comedy out of familiar situations. The more seriously the camera treats a tea tray or a moving box, the funnier it gets.
It stays cinematic and grounded: real Saudi homes, real light, faces that feel like people we know.
Characters dead-centre, framed like the hero of a much bigger film.
Slow, dramatic dolly moves on the smallest shifts: a smile dropping, a thought landing.
Halls, tickets and sofas shot like luxury products: macro, backlight, slow motion.
Unexpected cuts. Perfect timing.
Gesture match cuts, rhythmic editing and visual surprises keep the storytelling playful and unpredictable.
A movement starts in one world and finishes in another. The gesture always comes out of the action, never choreographed just for the edit.
Reference · Abu Auf · 2026 — one hand to the face, two places.
The fist pump
Khaled's celebration on the sofa lands in the stands of the final.
The collar
Mohammed straightens his bisht, and the same pull opens on the wedding hall.
The sweep
Noura's hand sweeps a bare wall and finishes in the room she's imagining.
One word. One cut. One price.
As the narrator lists what it costs, every word gets its own cut and its own price. The numbers don't sit in a lower third. They land in the scene as paper price tags and pile up around the character until he's buried in his own list.
Then the voice says his name. Silence for one beat. The room clears in a single cut.
The cut follows the voice, not the music. Each word is a downbeat, and the silence before the name is the biggest one.
Figures are illustrative.
— three stories, twenty seconds each
Mohammed's big moment.
A symmetrical composition and a slow, dramatic push-in introduce Mohammed as the hero of his own wedding story. Then the narrator starts doing the maths, and Mohammed's reaction quietly breaks the illusion.
One final. Too many expenses.
Khaled's excitement builds around his team's victory, only to collide with the reality of getting to the final.
A new home. An unfinished dream.
Noura imagines the home she wants while the growing costs threaten to postpone it.
Three stories. One message.
Different life moments, the same hesitation, and the same narrator talking us out of it. Every film follows one shape, so the campaign builds as the audience meets each character.
The situation
The list
The beat
Tasheel
Draft 02 · October 2026
