Start-up of the Week: UnitX - Making supercomputers accessible and affordable

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UnitX which was founded in December 2017, provides a cloud-like online platform that allows users to harness the power of 14 supercomputers, three of which are located in Saudi Arabia. (AN Photo/Huda Bashata)
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UnitX which was founded in December 2017, provides a cloud-like online platform that allows users to harness the power of 14 supercomputers, three of which are located in Saudi Arabia. (AN Photo/Huda Bashata)
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UnitX which was founded in December 2017, provides a cloud-like online platform that allows users to harness the power of 14 supercomputers, three of which are located in Saudi Arabia. (AN Photo/Huda Bashata)
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UnitX which was founded in December 2017, provides a cloud-like online platform that allows users to harness the power of 14 supercomputers, three of which are located in Saudi Arabia. (AN Photo/Huda Bashata)
Updated 26 November 2019
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Start-up of the Week: UnitX - Making supercomputers accessible and affordable

  • UnitX is a startup based at King Abdullah University of Science and Technology (KAUST)
  • Provides cloud-like online platform that allows users to harness power of 14 supercomputers

JEDDAH: Supercomputers offer incredibly powerful processing capabilities but the high cost and a need for skilled operators means that they are mainly used by government organizations and other large institutions and corporations.

UnitX, a startup based at King Abdullah University of Science and Technology (KAUST), aims to change this by offering on-demand access to the powerful technology, making it easily accessible and affordable to a much wider range of businesses. The company, which was founded in December 2017, provides a cloud-like online platform that allows users to harness the power of 14 supercomputers, three of which are located in Saudi Arabia.

“In the GCC and the Kingdom especially, there is a lot of buzz around artificial intelligence (AI), machine learning and simulations,” said UnitX CEO Kiran Narayanan. “Everybody talks about this but what they don’t talk about is that there’s a huge skills gap in the industry when it comes to data engineers and data scientists.

“Also, the companies that do have this talent on board, they find that their engineers and scientists spend more than 50 percent of their time dealing with software and hardware infrastructure issues rather than focusing on business outcomes. And so there’s a problem of skills and there’s a problem of infrastructure management, because of which companies lose productivity and lose money.

“There’s an access barrier as well: Large institutions such as government bodies have supercomputers but a regular company or customer, an end user, can’t get access to them because the supercomputer centers have security protocols and they don’t trust them. So there is a need for (supercomputers) and there is a supply of them but the two don’t meet. This is the gap we bridge, the problem we solve.

Supercomputers are already being used in the Kingdom, Narayanan said.

“Companies such as (Saudi) Aramco and universities such as KAUST have them,” he added. “What we want to do is democratize supercomputing, this technology that is very fast at solving huge problems such as big-data analytics, machine learning and AI. We want to hand this power to regular industries, not just the largest corporations.”

A supercomputer costs anywhere between $100 million to $250 million, said Narayanan, plus an additional $5-$6 million a year for the power and the skilled team that is needed to operate and maintain it. As a result, businesses face two main constraints when they want to make use of the technology.

“One is the high capital expense and the high level of skill required to own and operate these machines, and managing the infrastructure requires teams of IT people,” he explained. “So the key to democratizing this is to break down these barriers of skill, cost and management issues.

“(UnitX) has a software platform that makes supercomputing as easy as using Netflix. Just as you log in to a Netflix account through a web browser, you log in through the UnitX platform and, just as Netflix (provides) movies, the Unit X platform (provides) applications for big data analytics, AI and machine learning, and simulations that can be deployed onto supercomputers connected to the platform.”

Product engineer Mohammed Ghawanni said: “You can access the platform using a browser, as with any website. After logging in, you can launch a job. The jobs you can send to these supercomputers are for data analytics, machine-learning models or simulations.”

As an example of the work that can be carried out, he gave running simulations that test the endurance of automobiles.

“Manufacturers can do the testing with computers instead of manufacturing many cars and damaging them,” he said. “It is much more cost-efficient.”

Ghawanni also highlighted the lack of access to supercomputers for smaller businesses, the high costs involved and the need to employ teams of experts to create and implement the programs to run on them.

“We provide access to supercomputers in a manner that is both time and cost efficient and (users) will have faster results at less cost, and truly innovate,” he added. “The platform is easy to use and accessible via browser, so they don’t need experts to help them anymore.”

UnitX has recently raised an early stage round of funding from KAUST Innovation Fund and Saudi Aramco Entrepreneurship (Wa’ed). “Having these respectable names back us is a validation of our business idea. It gives us a massive boost of encouragement, and we are lucky to have found investors with whom we share a common goal and vision- that of digital transformation of the economy here in KSA”, Narayanan said.

Unit X was one of the finalists of the Entrepreneurship World Cup at the Misk Global Forum 2019.


Akio Fujimoto discusses RSIFF Golden Yusr winner ‘Lost Land’ 

Akio Fujimoto at the Red Sea International Film Festival in Jeddah. (Getty Images)
Updated 19 December 2025
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Akio Fujimoto discusses RSIFF Golden Yusr winner ‘Lost Land’ 

  • The Japanese filmmaker on his groundbreaking Rohingya-language feature

JEDDAH: Some stories demand to be told. Not just as narratives, but as acts of witness.  

Japanese filmmaker Akio Fujimoto’s “Lost Land” is one such story. Billed as the first feature film in the Rohingya language, the movie took home the top prize — the Golden Yusr — at this year’s Red Sea International Film Festival. 

“Lost Land” — which premiered in the Horizons section at this year’s Venice Film Festival, where it won the special jury prize — follows two young Rohingya siblings, Somira and Shafi, fleeing persecution in Myanmar as they undertake a perilous journey d to join their uncle in Malaysia. 

Shomira Rias Uddin (R) and Muhammad Shofik Rias Uddin in 'Lost Land.' (Supplied) 

Presenting the Golden Yusr to Fujimoto, RSIFF jury head, the US filmmaker Sean Baker, said the film “confronts the plight of displaced children with unflinching empathy and poetic urgency.” 

Fujimoto’s journey to this film is a profound narrative of personal reckoning. Having worked in Myanmar for more than a decade, he recognized the unspoken tensions surrounding discussions about refugee experiences but never spoke out himself due to fear of persecution. The 2021 military coup in Myanmar, he said, forced him to confront a lingering sense of guilt about his previous silence on the subject. 

“Looking back on my decade of work, I realized I had been avoiding topics I wanted to focus on as a filmmaker,” Fujimoto said in an interview with Arab News at RSIFF. 

That self-reflection became the catalyst for “Lost Land,” transforming personal hesitation into a powerful act of cinematic storytelling. 

Eschewing traditional casting methods, Fujimoto discovered his lead actors through serendipity during community fieldwork. Shomira Rias Uddin and Muhammad Shofik Rias Uddin, real-life siblings who play the film’s young leads, were found walking near interview locations, compelling the filmmaker to reshape the entire script around their natural chemistry. While the original script was written with two teenage brothers in mind, the discovery of the Rias Uddin siblings led Fujimoto to alter the script significantly. 

Communication between the cast and crew became an intricate dance of translation and cultural bridge-building. With Fujimoto speaking primarily Japanese and some Burmese, the team relied on Sujauddin Karimuddin, a Rohingya translator who did far more than linguistic conversion. “He wasn’t just translating words but conveying messages, creating trust, and establishing a collaborative atmosphere,” said Watanabe, Fujimoto’s translator. 

One of the most remarkable aspects of “Lost Land” is its linguistic significance. Beyond being a narrative, the film serves as a critical instrument of cultural preservation. Karimuddin, who is also a producer on the film, approached his role like a linguistic curator. “As a Rohingya myself, I had the privilege of choosing words carefully, trying to instill poetry, capturing linguistic nuances that are slowly disappearing. So, the film is very important when it comes to the preservation of a people’s language. It was a privilege for me to contribute to it,” he said. 

As they were making the first fiction film focused on Rohingya experiences, the team felt an immense responsibility. “Lost Land” aims to humanize a community often reduced to statistics, giving voice and complexity to individual experiences.

Shomira Rias Uddin and Muhammad Shofik Rias Uddin (R) in 'Lost Land.' (Supplied) 

“In our film, we had around 200 people — including extras — who were all part of the Rohingya community. I felt in order to show their feelings and their voice; it was really important to bring in the Rohingya people and tell the story together with them,” said Fujimoto. 

For Fujimoto, whose previous films include “Passage of Life” (2017) and “Along the Sea” (2020), the film represents more than an artistic achievement. It’s a form of personal and collective redemption. “I can now clearly talk about these people without hesitation,” he said. 

The filmmaker’s future ambitions involve expanding on this project. He sees “Lost Land” as a crucial first step, and hopes to support Rohingya filmmakers in telling their own stories directly. 

“The next phase is bringing narratives from the Rohingya perspective, directed by Rohingya filmmakers,” he said.