Mohamed AbdelGalil is a leading Arab journalist, arts critic, and content producer with over 20 years of experience in Entertainment and cultural media.

Based in Dubai, he currently works as a Senior Producer and critic at Asharq News, part of the Saudi Research and Media Group (SRMG).

Over the past two decades, AbdelGalil has built a diverse career across journalism, television production, and digital content, with a focus on bridging Arab audiences and the global creative industries.

His work reflects a deep passion for cinema, theatre, music, and visual storytelling, anchored in thoughtful, socially aware criticism.

Since joining Asharq Bloomberg, the economic platform of Asharq News, AbdelGalil has developed a strong focus on the economics of entertainment.

His work—across television, social media, and web—explores the business of film, streaming platforms, music production, and cultural investment.

He brings financial and strategic insight into arts coverage, making it more relevant to business audiences and policymakers.

Originally from Egypt, Abdelgalil began his journalism career in the early 2000s, writing for prominent outlets including Al-Qahira, Al-Ghad, Al-Wafd (Egypt), Kalam Al-Nass (Lebanon), Al-Qabas (Kuwait), Al-Roeya (UAE), and Al-Watan (Egypt), where he led the Entertainment & Culture section for over four years.

His writing spans independent Arab cinema, theatre, alternative music, and transformations in TV drama and digital streaming.

As a field reporter, he has covered major festivals like Cannes, Venice, Malmö, Cairo, Red Sea, Amman, and El Gouna.

In television, he has worked with channels such as Dream TV, Al Mehwar, Rotana, Al-Ghad, DMC, and Asharq, producing entertainment programs, documentaries, and digital content.

AbdelGalil’s criticism blends aesthetic analysis with political and economic context.

He is especially drawn to cinema’s role in exploring identity, power, and representation.

Beyond content creation, he supports initiatives for responsible media and believing that criticism should foster dialogue—not divide—between artists and audiences.