القاعةSAR85,000
Tasheel
Treatment
byRamez Khalifa
Personal Finance · 3 Films × 20s
تسهيل بدون تأجيل
تسهيل بدون تأجيل
Native to social. Not a finance ad.
We want to make personal finance content that feels native to social, not like traditional financial advertising. Instead of leading with the product, we lead with familiar, relatable moments that instantly grab attention.
Each film follows a character who has something they genuinely want to do, but keeps putting it off because of the costs involved. We meet them in their everyday lives, understand what they're looking forward to, and experience the moment their excitement turns into hesitation.
Until someone reminds them that things could be easier.
01 — The approach · The insight
When something we want comes up, we don't always say no.
We say, «Maybe later.»
And sometimes, later keeps getting later.
Turn hesitation into action.
Tasheel Personal Finance can help turn that hesitation into action. Rather than talking about financing first, we focus on the moment people are about to postpone something important and show how Tasheel can help them move forward.
The framework
01 Relatable situation
02 Quick hook
03 Simple Tasheel payoff
One clear format that works across three different life situations, keeping every film short, entertaining and easy to understand.
It's simply someone who's there.
Across all three films, the VO takes over the storytelling, introducing our characters and the situations they're facing. But the VO isn't simply narrating their stories. It exists physically within the scene.
The camera becomes the body of this invisible presence. It moves through the room, follows the characters, gets closer when speaking to them, and reacts to their actions.
Our characters acknowledge the camera and respond to the VO as if someone is actually standing in front of them. We never reveal who this person is. We never explain their presence.
This turns what would normally be a traditional voiceover into an actual conversation.
The camera should feel human.
It shouldn't always be perfectly still or perfectly composed. It can move closer, lean slightly, react, or hold a position as if it's listening. Handheld movement with purpose: present, never distracting. The characters don't perform for the camera; their reactions stay spontaneous and conversational.
Ping-pong.
The VO introduces the situation, the character responds, the VO continues, and the conversation develops naturally. The VO stays the storyteller; the character's answers give the story its personality.
VOهذا محمد… له سنين يقول: خلاص، هالسنة بتزوج.
Mohammedإن شاء الله هالمرة صدق.
VOبس كل ما حسب التكاليف…
Mohammedلا تذكرني.
Taking ordinary moments a little too seriously.
Every frame is built like a storybook diorama: centred, flat, perfectly arranged, painted in candy pastels. The more seriously the camera treats a tea tray or a moving box, the funnier it gets.
Deadpan faces, precise blocking, sets that look a little too tidy to be real, and yet it's still a Saudi wedding, a match night, a new home we all recognise.
Dead-centre and deadpan. Characters planted in the middle of dollhouse sets, everything mirrored left to right, colour chosen like a sweet shop. The camera looks straight at them and never blinks.
In every film the camera creeps in as the list piles up: on Mohammed under his price tags, Khaled losing his smile, Noura counting what's left. Then the voice says their name and it stops dead.
Halls, tickets and sofas shot like luxury products: macro, backlight, slow motion.
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.
Twenty seconds. Seven beats.
The party, the list, one beat of silence, the answer, and back to the party. The film gets louder until the narrator says his name, then everything stops. Tasheel enters in the quiet, and the celebration comes back stronger.
Film 01 · Storyboard · 00:00 – 00:04
The celebration
A loud, golden wedding. The camera moves through the crowd to find Mohammed among his friends. He notices the lens and smiles, as if someone familiar just called his name.
VOهذا محمد… له سنين يقول: خلاص، هالسنة بتزوج.
The conversation
He talks straight into the lens. The narrator starts doing the maths, and we hold on his reaction.
Mohammedإن شاء الله هالمرة صدق.
VOبس كل ما حسب التكاليف…
Mohammedلا تذكرني.
The costs
One insert for every word, and every insert lands with its paper tag. The cuts follow the VO, not the music. The tags don't leave: they pile up around Mohammed for the next beat.
VOالقاعة، الضيافة، شهر العسل، أثاث الشقة الجديدة… والقائمة ما تخلص.
Figures as per the storyboard.
The pressure
Surrounded by his own list, the camera creeps closer. The wedding noise drains out of the frame.
Mohammedيعني أأجلها للسنة الجاية؟
The reset
The narrator says his name. One beat of silence. In a single cut every tag is gone, and Mohammed stands alone in a clean frame.
VOبس يا محمد…
The solution
The narrator's tone turns. Mohammed leans in, then a clean cut to the phone: the Tasheel financing experience, with the key facts set beside it.
VOحلك أسهل مما تتوقع.
Mohammedوش عندك؟
VOمع التمويل الشخصي من تسهيل، لا تأجل اللي بخاطرك.
CU first,
then the cut
to the phone
Financing from SAR 10,000 to SAR 250,000
Easy online procedures
Amount in the account within 24 hours
Screen UI is a mock-up for the treatment.
…pull back to the wide
Back to the celebration
Relief. The camera pulls back out into the party as his friends close in. We end on the Tasheel logo and line.
Mohammedيعني خلاص… ما فيه تأجيل؟
VOتسهيل، بدون تأجيل.
تسهيل — بدون تأجيل
End frame
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.
Twenty seconds. Sixteen beats.
The fastest of the three films. The final whistle, a flash of the stadium, then six costs in under five seconds, one word, one cut, one tag. The list buries Khaled, the narrator clears the frame, and the celebration comes back.
Film 02 · Storyboard · 00:00 – 00:05
The match
Khaled sits right up at the TV. The camera is in the room, off to one side, like someone watching with him. Final whistle: his team is through, and he jumps.
VOهذا خالد… ما يفوّت مباراة لفريقه.
The reaction
The camera pushes in on the celebration. He flicks a look at the lens, answers the voice, and is straight back on the TV.
Khaledولا مباراة!
The fantasy
A direct cut from the sofa to the stands. The crowd fills the frame with Khaled at the centre, and we cut out at its peak.
VOوها هم وصلوا النهائي، وقرر يكون أول الحاضرين بالمدرج.
Khaledأكيد! هذي لحظة ما تنفوّت.
Film 02 · Storyboard · 00:05 – 00:07
Back to reality
Hard cut back to the living room. He's still excited, but the narrator's line makes him pause, and he turns to the camera.
VOبس عشان يكون هناك، فيه كم شغلة لازم يحسب حسابها.
The question
We hold on him for a moment, as if the voice in the room is about to explain. That beat is the setup for the list.
Khaledوش؟ مثل إيش؟
The list
Six inserts in four and a half seconds, roughly 0.7s each. Every word of the VO gets its own cut and its own paper tag. The cut follows the voice, not the music, and the gifts land last, a beat longer, because that's the one that gets him.
VOتذكرة المباراة… طيران… فنادق… مواصلات… أكل… وهدايا لأهله.
Figures illustrative, pending approved prices.
The costs add up
Back in the living room, all six tags around him. His eyes jump from one to the next as the camera slowly pushes in, keeping the tags in frame.
Khaledهدايا كمان؟!
The reset
He looks to the camera. A beat of silence. In a single cut every tag is gone, and the camera holds still for the reassurance to land.
VOولا يضيق صدرك يا خالد.
Khaledطيب، والحل؟
The Tasheel solution
Cut to the phone and hold while the facts appear beside it. Then back to Khaled, whose worry turns into excitement.
VOتمويل من 10,000 إلى 250,000 ريال، بإجراءات أونلاين سهلة، والمبلغ بحسابك بعد 48 ساعة.
Khaledيعني ألحق النهائي؟
Then back
to Khaled
Financing from SAR 10,000 to SAR 250,000
Easy online procedures
Amount in the account within 48 hours
Screen UI is a mock-up for the treatment.
Back to the excitement
He turns back to the TV and celebrates the qualification all over again. The camera eases back to let the room and the party into the frame.
VOتسهيل، بدون تأجيل.
تسهيل — بدون تأجيل
16 · End frame · 00:19.5 – 00:20
A new home. An unfinished dream.
Noura imagines the home she wants while the growing costs threaten to postpone it.
Twenty seconds. Same frame, twice.
Noura's film opens and closes on exactly the same wide shot. In between, the list piles up around her, the narrator clears it in one cut, and Tasheel lets her finish the room. The payoff isn't a new location, it's the same home, done.
Film 03 · Storyboard · 00:00 – 00:06
The new home
Noura and her family in their new home: a few essentials in, boxes still everywhere. The camera drifts in and finds her, and she answers the voice like it's a guest at the door.
VOهذي نورة… نقلت مع أهلها لبيتهم الجديد. ألف مبروك!
Nouraالله يبارك فيك!
The furniture
The camera settles in front of her, the unfinished room behind. She brushes it off, like she's heard this one before, and we hold on her face.
VOبس تأثيث البيت؟ للحين تقول: بعدين.
Nouraشوي شوي، كل شيء بوقته!
The list
A touch closer. She looks around the room, already seeing it finished.
VOمو لأنها ما تعرف وش ناقصها… بالعكس، القائمة جاهزة.
Nouraطبعاً جاهزة! كل شيء ببالي.
The costs
Four words, four cuts, four paper tags. Each insert is shot like a catalogue cover, and every tag feels like a real piece of paper placed in the scene. The cuts follow the VO, not the music.
VOكنب… أجهزة… ستاير… وديكور.
Figures illustrative, pending approved prices.
The realization
Back in the unfinished room, the tags crowding in around her. She looks from one to the next as the camera slowly pushes closer and her excitement turns to hesitation.
VOبس كل ما حسبت الحسبة… قالت: الشهر الجاي.
Nouraطيب وش أسوي؟ مو كل شيء مرة وحدة!
The reset
She looks to the camera. A brief beat. In a single cut every tag is gone and the pressure goes with them.
VOولا تشيلين هم يا نورة.
Nouraأجل وش الحل؟
The Tasheel solution
Cut to the phone and hold while the facts land beside it. Then back to Noura as hesitation turns into excitement.
VOتمويل من 10,000 إلى 250,000 ريال، بإجراءات أونلاين سهلة، والمبلغ بحسابك بعد 48 ساعة.
Nouraيعني أقدر أكمل بيتي؟
Then back
to Noura
Financing from SAR 10,000 to SAR 250,000
Easy online procedures
Amount in the account within 48 hours
Screen UI is a mock-up for the treatment.
Film 03 · Storyboard · the transformation
The home completed
Back to the exact opening composition, same camera, same lens, same framing. The boxes are gone; the sofa, curtains, appliances and decor are all in. Noura and her family settle in, and the camera slowly pulls back on the finished room.
VOتسهيل، بدون تأجيل.
تسهيل — بدون تأجيل
End frame
Same frame. Different home. We lock the camera position on the shoot day so the before and after line up to the pixel.
The camera is the guest.
The camera stays the invisible presence: it moves naturally through Noura's home, watches her reactions and leans in when it talks to her. She answers it like someone standing in the room. We never show or explain who the voice is, and there are no forced gesture transitions: every cut comes from the dialogue and the story.
One word. One cut. One price.
Every item gets its own insert and its own physical-looking paper tag. The tags pile up around Noura until they crowd the frame, then vanish together in one clean cut when the voice reassures her.
Same frame, different home.
The opening and closing wides share one camera position, framing and composition. The only change is the state of the home, so the payoff is a simple before and after rather than a new location.
Sound design
00:00Warm household ambience, the family in the background.
00:06A paper accent on every tag as it lands.
00:10The ambience drops away as she gets overwhelmed.
00:12A moment of quiet before the voice reassures her.
00:13Music builds through the solution and the reveal.
00:17A warm, satisfying finish on the finished home.
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 03 · November 2026
