The inception of Syrian filmmaking occurred in 1928 with the release of Al-Mutaham al-Bari (The Innocent Suspect), a silent black-and-white feature directed, written, and produced by Rasheed Jalal in collaboration with Ahmed Tello.
In 1934, the release of the second silent black-and-white film, Tahta Sama' Dimashq (Under the Damascus Sky), coincided with the Egyptian talkie Unshudat al Fuad (Hymn of the Heart).
This pioneering display of strange moving pictures left the local audience astounded, as the images seemingly came to life on screens, creating a novel and captivating experience.
The introduction of viewing boxes displaying a limited number of pictures primarily appealing to children prompted a shift in interest towards a more contemporary form of artistic expression.
This marked the emergence of a burgeoning cinematic culture in Syria, as cafés became venues for the presentation of modern art that met the evolving preferences of a diverse audience.
In 1912, responding to the growing interest in cinema, the owner of a café situated in Damascus's prominent Marjeh Square, named "Habib Al-Shammas," pioneered the exhibition of moving pictures using a manual machine and acetylene gas-generated lamp illumination.
Named Çanakkale in commemoration of the Ottoman victory in World War I, this venue showcased diverse films, including the German army's parade in Berlin.
Following the destruction of Çanakkale, a Greek man named "Salo," who had worked at the burnt venue, proposed the establishment of a new cinema hall to a café owner in Marjeh Square.
The film, shot on an 800-meter tape over eight months, drew inspiration from real incidents during King Faisal's reign, portraying a gang of thieves causing havoc in Damascus.
Upon completion, efforts to showcase the film faced a setback when French authorities refused a license due to the inclusion of a Muslim actress, citing concerns from clerics about potential public unrest.
During this period numerous Syrian actors and actresses relocated to Egypt in pursuit of career advancement, unaware that their migration would eventually result in a reciprocal exchange.
Unforeseen at the time, the trend saw the return of not only Syrian talents but also Egyptian actors and actresses, marking a notable cross-cultural exchange that influenced the entertainment industry in both nations.
In the aftermath of the Six-Day War and Syria's loss of the Golan Heights, the organization acquired a strict monopoly over film production and distribution, reshaping the industry landscape.
Moreover, the Syrian film industry began to incorporate foreign influences, with filmmakers integrating French icons and engaging in productions with Yugoslavian and Italian collaborations.
Notable films such as Men Under the Sun (1970), centered on the Palestinian issue and resistance, and The Knife (1971) and The Deceived (1973), both inspired by Ghassan Kanafani's stories, contributed to the cultural landscape.
Despite its exploration of the farmer-feudal lord relationship, the film faced severe criticism for some seductive scenes, marking a notable shift in Syrian cinema.
Syrian cinema achieved continued success with films like The Leopard (1972) and Dancer on the Wounds (1974), starring the acclaimed duo Duraid Lahham and Nuhad al-Qala'i.
Noteworthy collaborations included Egyptian actress Nelly in The Sinners (1975) and Lebanese actors, such as Iman (Liz Sarkissian) who appeared in When the Wives Are Away (1975) who also starred French icon Muriel Montousse.
Walid Tawfiq, a Lebanese actor who appeared in Fish Without Hasak, produced by Samir Anini in 1978, starring Sabah Al-Jazairi, Duraid Lahham and Karim Abu Shakra.
The decade also featured various films and actors, including Ziad Mawlawi, Samira Tawfiq, Mahmoud Saeed, Duraid Lahham, Nihad Qalai, and others, contributing to the diversity and success of Syrian cinema during its golden age in the 1970s.
During the 1990s, a pivotal era preceding the golden age of Syrian cinema, Maraya emerged as one of the decade's standout successes, achieving the status of a classic.
Another notable contribution to Syrian cinema during this period was Al-Kompars, directed by Nabil Maleh and featuring the talents of Bassam Kousa and Samar Sami.
In 2006, Ala Tool al-Ayam brought together a constellation of eminent Syrian actors, such as Sulaf Fawakherji, Taim Hassan, Ayman Zeidan, and Maxim Khalil.
This convergence of talent contributed to Syria's top ranking in the Middle East, largely attributed to the resounding success of Bab al-Hara, a classic series that garnered immense popularity, particularly during the sacred month of Ramadan.
The show not only earned praise for its compelling narratives but also for the captivating performances and aesthetic appeal of actresses, notably Sulaf Fawakherji and Sulafa Memar, recognized as among the most beautiful in the industry.
Senne Oula Zawaj, released in 2017, emerged as a major success, showcasing the notable performances of Dana Jabr and Yazan Al Sayed.
Notably, numerous Lebanese television productions prominently featured Syrian actors during this period, contributing to a collaborative and cross-cultural exchange within the region.
One notable production that exemplified this trend was Al-Khaen, featuring the talents of Sulafa Memar, Qays Sheikh Najeeb, and Maram Ali it stands as the highest-viewed program in the Middle East during January.
Syrian actors and actresses found substantial roles in Lebanese shows, further enhancing their presence and influence in the broader Arab television landscape.
For instance, the Lebanese series Lal Mot included performances by Syrian actors such as Mohammad Al-Ahmad, Khaled Al-Qish, and Sabah Jazairi in its initial seasons.