Representation is arguably the buzzword over the past couple of years. Yet, its overuse has stripped it of the very meaning it once carried, turning what was once a call for inclusion and visibility for marginalized voices into a checkbox for brands and institutions to tick off.
More of a PR strategy that comes dressed as progress rather than a real effort to shift who gets seen, heard, or paid, it’s become the industry’s favorite costume to wear, often donned without real conviction and removed at the first inconvenience or slight discomfort, especially if you happen to be Palestinian. And that’s where al Agency comes in.
Founded in 2025 by Salma Mousa, the Levantine house of talent is on a self-appointed mission to “connect (Palestinian) and Arab talent with international opportunities, enabling models, actors, and visionaries to excel on a global platform while emphasizing excellence, cultural authenticity, and contemporary representation.” Since its launch, al Agency has brought together over 15 faces from across the region with a mix of fresh and familiar names redefining what Arab presence in global media should look like. Dedicated exclusively to models and actors, their roster so far includes the likes of Sofia Asir, who featured in Marvel’s Moon Knight (2022), and Salma Malhas, best known for starring in Netflix’s first Arabic original series Jinn (2019).
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Focused on amplifying Palestinian and Arab voices — both at home and on the world stage — we sat down with al Agency’s founder to discuss the politics of visibility, what it takes to build something real in an industry obsessed with optics, and why representation isn’t a trend but a necessity.
MILLE: How did the name come about, and what drew you to something so pared down?
SALMA MOUSA: The name al Agency comes from the Arabic definite article. It’s one of the most recognizable markers of the Arabic language. I wanted something that carries an Arab spirit without relying on tired or orientalist clichés. Two letters are enough to assert an Arab presence while still feeling global and contemporary. Personally, I’ve always found simplicity more profound; the more stripped back something is, the more it reveals.
What’s the mission? What do you hope to achieve that doesn’t already exist?
SM: There’s a lot of talk about representation, and many productions and brands reference our lives and cultures, yet our actual faces remain scarce. When it comes to Palestine, for example, there’s been an exciting wave of new films and series from both within and outside the region, but often we see the same actors again and again. It’s almost like a monopoly. When casting directors try to diversify, they tend to go for influencers, models, or singers (people who already have a following) while many trained and dedicated actors who’ve been working for years remain unseen. al Agency aims to change that: to create access, visibility, and opportunity for Arab talents that exist beyond the algorithm, beyond stereotypes, and beyond tokenism.
What gap did you see that made you want to start aI Agency—and what needs does it address that others haven’t?
SM: There’s immense creative energy across the Arab world, but it’s scattered, fragmented by politics, geography, and access. A lot of collectives and labels are doing important work, but many still replicate the same hierarchies — aesthetic, geographic, or social. al Agency isn’t just about visibility; it’s about infrastructure and redistributing access. It’s about creating real systems of support and connection for talent across borders. We’re not chasing hype or trends, we’re building structures that allow Arab and Palestinian talent to sustain long-term, meaningful careers. Our focus is on depth, care, and continuity rather than momentary visibility, especially for those whose statelessness or displacement makes “career” an almost impossible concept.
You’ve said that “representation isn’t a trend, it’s a necessity.” What does that mean in practice? How does that belief show up in the way you work with talent day to day?
SM: Representation has become a marketing language, but for us it’s a matter of survival and dignity. When we say it’s a necessity, we mean it literally. Visibility shapes reality, access, and self-worth. That belief shapes everything: who we represent, the projects we take on, how we negotiate, and how we communicate. We don’t just want our people to appear in campaigns or films; we want them to be respected, credited, and fairly compensated.
How do you decide between what’s a good opportunity and what’s not?
SM: A “good” opportunity isn’t just one that’s high-profile, it’s one that honors context. We ask: does this project genuinely engage with our narratives or just use them as texture? Does it open space or reduce us to symbols? Sometimes that means saying no to things that might look appealing on paper, because long-term authenticity matters more than short-term exposure, especially in the Palestinian context, making sure the funding and messaging is appropriate can be a deal breaker.
Let’s talk about power. Agencies often hold most of it, while talents rarely do. How are you working to shift that dynamic? What does fair representation look like within your model?
SM: We don’t speak for our talents; we speak with them. We are not trying to imitate a Hollywood model or be part of a brutal machine. Fair representation means transparency in fees, in decision-making, in credit. It means prioritizing our talents’ agency, literally and figuratively. We want to shift the idea of power from control to care, creating an ecosystem where trust replaces dependency. No perpetual 360 deals or rare phone calls only when there’s work, it’s a collaborative effort and an open communication between agents and talent.
Where do you hope to see aI Agency in the next five-years?
SM: Operating a talent agency for stateless people has been the biggest challenge. How do you provide opportunities for Palestinians who are scattered around the globe? Success would be for our reach to cover the whole globe, for we are really all around the globe as Palestinian people. But really what matters most is impact, seeing more of our people working, thriving, and telling stories that don’t need translation to be understood or justification to exist.
The post Representation Isn’t a Trend—And This Palestinian Talent Agency Is Here to Prove It appeared first on MILLE WORLD.
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