How AI may push the boundaries of creativity in the Saudi film industry

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Updated 06 June 2024
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How AI may push the boundaries of creativity in the Saudi film industry

  • From generating story ideas to streamlining post-production, artificial intelligence could revolutionize Saudi filmmaking
  • Digital arts expert thinks Saudi filmmakers will use AI for good and noble ends, but recommends they start simple

DHAHRAN: When William “Wink” Winkler of Samford University landed in Saudi Arabia earlier this month for the 10th edition of the Saudi Film Festival, held in Dhahran, he felt he had discovered a new frontier in cinema and technology.

At the invitation of the American Chamber of Commerce and US Consulate in Dhahran, the instructor of digital arts brought with him a wealth of knowledge and experience to conduct a masterclass in artificial intelligence in filmmaking.

However, during his week-long visit, Winkler also gained a fresh perspective on the Saudi film industry, its burgeoning local talent, and how breakthroughs in AI will transform the way movies are made in the Kingdom.

“I learned that the Saudi people are passionate and excited,” Winkler told Arab News. “They can tell amazing stories, original Saudi stories, and as they start to embrace new and emerging technology, that will help them to do that.”




William “Wink” Winkler

AI is still considered an emerging technology, but one that is evolving rapidly. In just the past two years, generative AI programs have progressed from producing janky text and surreal images to creating prose and visuals that could pass as human-authored.

As a giant aggregator of sorts, AI can instantly sift through vast amounts of data in an instant and use existing scripts and screenplays to identify patterns and generate curated story ideas.

While the creative aspect of AI is still imperfect and causes some discomfort among screenwriters, the technology has many other more rudimentary applications in the filmmaking process.




AI could make work easier by automating parts of the filmmaking process that are grueling and time-consuming, says digital arts instructor William “Wink” Winkler. (Supplied)

In pre-production, for instance, AI can help streamline location scouting by analyzing images and videos in real time to suggest settings based on a prompt. It can also cut casting time by instantaneously analyzing audition tapes to identify which actor best fits a particular character.

Post-production is another area where AI will transform filmmaking by using automated editing tools, which can analyze footage and accurately suggest instant edits based on factors like composition and pacing.

It can also assist with traditionally manual tasks, such as color grading, sound design, and visual effects.

DID YOUKNOW?

• AI can sift through vast amounts of data in an instant and use existing screenplays to generate story ideas.

In pre-production, AI could help streamline location scouting and cut casting time by analyzing footage.

In post-production, AI could automate editing and assist with color grading, sound design, and visual effects.

Many filmmakers already use computer-generated imagery — or CGI — to digitally create an asset, character, or effect that was not caught on camera. This advancement has thereby automated parts of the process that were often grueling and time-consuming.

CGI has also benefited from recent AI advancements with more curated algorithms that can generate realistic characters and create fantastical environments from thin air, reducing the need for extensive practical effects or location shoots.

However, AI in filmmaking is not without its issues. The tool will undoubtedly negate many jobs in the industry, while machine-generated stories might seem inauthentic, lacking in depth, relatability, and human spirit.




AI art by Omar Alabdulhadi

“Films invoke emotion, and they can create feelings because they’re told from a human story,” said Winkler. “And humans have felt feelings and have dealt with real human problems. And the computer hasn’t.

“All it can do is read what has been written and repeat it, but it doesn’t actually know what to say, or how to convey it. It can only try to replicate what a human said before.”

There are also ongoing concerns about data protection and bias in AI algorithms — something that has been an issue for social media for some time, as the algorithm merely mimics what already exists.




William “Wink” Winkler along with fellow US expert Travis Blaise who flew in to Dhahran to conduct workshops for the Saudi Film Festival. (AI art by Omar Alabdulhadi)

AI systems have a tendency to perpetuate and amplify demographic and racial biases. This can lead to discriminatory outcomes that are not inclusive, such as only generating characters it deems conventionally beautiful — oftentimes slim, blonde, and light-skinned.

Another consideration is the ethics of plagiarism, as AI pulls from existing works created by humans and generates an entirely new work without providing credit.

To manage the potential for plagiarism and the amplification of harmful biases by AI systems and those employing them, Winkler believes a thoughtful discussion leading to robust regulation is required.

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“There’s always going to be evil people. We can fight it, just like we’ve always fought it — through rules and regulations,” he said.

“I think that creating communities and discussions at small local levels — to larger governance levels — creates some guardrails around what’s happening. The more ethical, morally good people get involved to help fight the evil, the better.”

Sora is a groundbreaking text-to-video AI model developed by OpenAI — the firm behind ChatGPT — that takes written prompts and converts them into dynamic videos.

The technology can instantly generate high-quality videos with detailed scenes and complex camera movements — with just a few written descriptions.




Surreal AI art collage by Saudi creator Omar Alabdulhadi. (Supplied)

There are concerns, however, about the potential misuse of programs like Sora to create “deepfakes” — digital forgeries that take a human likeness and fabricate images of them saying or doing things that never happened in reality.

These fabricated images can look and seem so realistic that it can be difficult to distinguish between what is real and what is not. Besides the obvious reputational risks, such deepfakes could also undermine trust in institutions and even lead to conflict.

In the film world, such technology could also cost jobs. Why would studios hire human actors if the AI can make their digital likeness do and say anything without rehearsal — performing better than the original, perhaps?




This image, which is part of the "Salt" short-film series by Fabian Stelzer and was created via Stable Diffusion. (Supplied)

Winkler believes Saudi filmmakers will use AI for good and noble ends — but recommends they start simple.

“I think the place that I would start is actually not in AI,” he said. “Start with a journal and a piece of paper and a pen — and document. Get the stories from your mother, your grandmother, your grandfather, your great-grandmother and your great-grandfather.

“Everyone’s ancestors have done amazing things, and that should be documented and shared.”




Surreal AI art collage by Saudi creator Omar Alabdulhadi. (Supplied)

One Saudi creator who is dabbling in AI is Dhahran resident Omar Al-Abdulhadi. While he believes AI technology has not yet been perfected, he is keen to see the market thrive and grow in the creative industries.

“All the anti-AI artists will accept the fact that AI is the future,” Al-Abdulhadi told Arab News, acknowledging the seeming inevitability of the technology’s adoption. But, with the right regulation and careful use, it does not have to be bad.

Winkler agrees. Furthermore, he believes the Kingdom is ideally placed to help this emerging industry grow. With such a young population made up of digital natives, Winkler says Saudi creatives can be future leaders in the field.

“The technology is not available right now, but I imagine that it will be very soon,” he said. “I don’t have the team or the time to do it — but maybe the Saudis can do it and change visual effects forever.”

 


11th Saudi Film Festival opens with a night of cinema, culture, stars

Updated 18 April 2025
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11th Saudi Film Festival opens with a night of cinema, culture, stars

DHAHRAN: The red carpet was rolled out for the 11th edition of the Saudi Film Festival on Thursday, as the event confirmed its role as a cornerstone of the Kingdom’s burgeoning movie culture.

Hosted by the dynamic duo — Saudi actors Aixa Kay and Khaled Saqer — the celebration at the King Abdulaziz Center for World Culture (Ithra) in Dhahran was brimming with glamor and drama.

Saudi opera singer Mohammed Khayran Al-Zahrani and renowned French soprano Fabienne Conrad serenaded the crowd, while a live orchestra performed a medley of classical renditions of popular film scores under the direction of maestro Gevorg Sargsyan.

The 11th Saudi Film Festival was hosted by Saudi actress Aixa Kay and actor Khaled Saqer. (Supplied)

The event was organized by the Cinema Association in strategic partnership with Ithra — an Aramco initiative — and was supported by the Saudi Film Commission of the Ministry of Culture.

This year’s festival, with the theme “Cinema of Identity,” delves into the power of storytelling to reflect and shape cultural, personal and collective narratives.

At the opening, Cinema Association chairwoman Hana Al-Omair emphasized the theme’s significance.

“We present this year’s edition at a time when Saudi film production is undergoing noticeable growth. Saudi films are no longer rare appearances; they are now competing for prime slots in Arab cinemas. This reflects an artistic momentum worth pausing and reflecting upon,” she said.

She also highlighted the festival’s special focus.

Saudi opera singer Mohammed Khayran Al-Zahrani and renowned French soprano Fabienne Conrad. (Supplied)

“In addition to the usual festival activities, we are shining a spotlight on the Japanese cinema experience, which has had a profound impact on world cinema, thanks to its artistic schools, rich experience and global history,” she said.

Opening night saw visitors treated to the premiere of “Siwar” by Osama Al-Khuraiji.

The program, which runs until April 23, is packed with events including a steady stream of stars, film screenings, seminars, workshops, masterclasses and the coveted Golden Palm awards.

Since its founding in 2008, the Saudi Film Festival has become the Kingdom’s longest-running cinematic event.

This year, 36 out of 68 screenings are Saudi and Gulf films, comprising eight narrative features, 21 shorts and seven documentaries. Parts of the proceedings, and some other festival events, are being live-streamed.

For more information about buying tickets, visit the Ithra website.


Saudi filmmaker Ryan Al-Bishri discusses ‘When the Light Shines’ 

Updated 18 April 2025
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Saudi filmmaker Ryan Al-Bishri discusses ‘When the Light Shines’ 

  • The documentary about Layan Culture tells a remarkable story of artistic perseverance against the odds 

DUBAI: Saudi Arabia’s cultural scene is becoming increasingly significant both inside and outside of the Gulf region, with the Kingdom’s artists being collected by prestigious international institutions and fetching impressive prices at auction.  

But a common gripe is that there is little archival material on those creatives who, decades ago — and without any of the institutional support the current generation now enjoy — built careers for themselves and inspired those who came after them. 

In his documentary “When the Light Shines,” which screens at the Saudi Film Festival today, Saudi filmmaker Ryan Al-Bishri reveals one long-running initiative that bucks that trend. Layan Culture was officially established in 2007 by Prince Faissal bin Abdullah bin Mohammad Al-Saud and Princess Adelah bint Abdullah bin Abdulaziz Al-Saud, but stems from decades-long support for artists and creators from its founders.  

Filmmaker Ryan Al-Bishri. (Dhasha Productions)

Layan is an archive, a collective, an “art-concept creator” and much more. It celebrates, promotes and is a patron of Saudi creatives. Its website states that its vision is also to “nurture artistic appreciation in the minds and hearts of the Saudi people.” However, despite its significance, Layan Culture is little-known, even inside the Kingdom. Al-Bishri hopes to change that. 

Al-Bishri was first introduced to Prince Faissal through his father, the fashion designer Yahya Al-Bishri.  

“I heard a lot of the stories through my father, of course. And then from Prince Faissal himself. And whenever they talked about it, it was just like ‘Wow!’ Stories I’d never heard —really interesting stuff from back in the 1960s,” Al-Bishri tells Arab News. 

A few of those stories — of trips overseas or to then-rarely visited areas of Saudi Arabia as the prince and his friends attempted to gather information about the Kingdom’s artistic and cultural heritage — made it into “When the Light Shines.” Indeed, Al-Bishri says, one in particular was the spark for the whole project. 

In the 1960s, American artist, photographer and explorer Gerhardt Liebmann entered Saudi Arabia through Yemen. “He just walked in — no visa or nothing — and started painting,” says Al-Bishri. Eventually, Liebmann was discovered by the authorities and deported.  

Layan Culture’s managing director Ghada AlTobaishi (R) and art director Mazen Tarabishi. (Courtesy of Dhasha Productions)

Years later, Prince Faissal and others were on a trip to Geneva. As they were walking past one of its many art galleries, the prince spotted a painting of a mosque minaret. The gallery provided the name of the artist (yes, Liebmann) and Prince Faissal reached out to him. In 1981, Liebmann returned to the Kingdom. The minaret, it turned out, was that of a mosque in Taif. Over the next few years, until Liebmann’s death in 1985, the artist visited regularly, painting portraits of some of the Kingdom’s rulers and its landmarks. Those works form part of Layan Culture’s extensive collection related to Saudi Arabia, much of which the organization has restored, and much of which has never been on public display. 

When putting the documentary together, Al-Bishri was himself left bemoaning the lack of material available from the 20th century. “There’s a lot of archive we wish we had,” he says. “Like, if there was any footage of Gerhardt and his journey and the people around him, that would have been really incredible.” 

Fortunately, Al-Bishri did have access to Prince Faissal’s personal footage. “He had a team around him who filmed, and we had to gather everything we could to get this together. As you see in the film, everyone is really down-to-earth and welcoming. They never had any formalities about anything. Even the prince himself.” 

That footage makes up some of the documentary’s most joyous scenes — including a camping trip to the Empty Quarter — in which you really get a sense of the camaraderie between this handful of people trying to create a lasting cultural legacy. As Al-Bishri’s father says in the film, “Across the Kingdom, there were only individual efforts by people, and only a few who were willing to support these few artists.”  

Those words are echoed on screen by artist, sculptor and photographer Dr. Dia Aziz Dia, who was given a scholarship to study art in Italy, but on his return, he says, “I was surprised that society wasn’t ready to embrace art.” 

“The prince connected a lot of people together. Without that, you’ve lost that sense of community. A lot of people might have given up,” says Al-Bishri. “Especially at a time where everyone was telling you what you’re doing is wrong. You know, my father got that for a long time: ‘This is not right, what you’re doing is very wrong.’ But finding a group of people who are there to support you, as an artist, was incredible. Now we have that, of course, the government, the ministries… all of this change, it’s wonderful. But it kind of feels like it misses the people before this — the people who fought, who struggled. We have to talk about them too. They started this. I want this film to bring people to Layan Culture so they can really appreciate the work that they’ve done.” 

It certainly seems to have done that. Since its premiere at the Red Sea International Film Festival late last year, “When the Light Shines” — the title alludes to Prince Faissal’s feeling that now was the time to make some more noise about the work of Layan Culture — has won Best Film at the Munich New Wave Film Festival and been officially selected to compete at Mexico City’s Mirada Corta Short Film Festival, East Village New York Film Festival, and the Florence Film Awards, as well as appearing at several other festivals. And Al-Bishri hopes his short documentary will spawn a television series.  

“There are so many stories that we discovered that even a feature-length film wouldn’t be enough,” he says. “What we want to do is make a short film about each artist where they talk about their journey. I think that would be great.” 

His goal is a simple one.  

“I want people to recognize the amount of work these people have put in. They sacrificed a lot and they had to fight a lot of people — a lot of family — just to do what they love,” he says. “A lot of these artists — a lot of these communities — were very quiet before and maybe they got used to that. But I think it’s very important that they should not be forgotten.” 


Highlights from Art Week Riyadh  

Updated 18 April 2025
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Highlights from Art Week Riyadh  

Ayesha Singh 

‘Liminal Gaps’ 

The Indian artist’s “Liminal Gaps,” according to the gallery Nature Morte, “explores the areas ‘in between,’ or transitional spaces” and “reshapes perspectives on India’s evolving cultural identity.’ The installation acts as a 3D drawing through which the viewer can move. Singh has said her works “aim to counter established narratives.”  

Joana Hadjithomas and Khalil Joreige 

‘Message with(out) a code’ 

This work comes from the Lebanese duo’s ongoing series “Uncomformities” (a geological term indicating natural disasters and geological movements). That series began in 2016 when the artists started collecting earth core samples that “revealed the subterranean worlds of cities omnipresent in the personal imaginaries: Athens, Paris, Beirut and Tripoli.  

Dhewadi Hadjab  

‘Untitled’ 

This work comes from a series of paintings that the Algerian-born artist created last year, which were presented in Paris in November. At the time, art critic Anael Pigeat wrote: “He shows unreal images of positions impossible to maintain: several times in one single time and several bodies in one single body.” 


Inside season two of ‘Star Wars’ spinoff ‘Andor’ 

Updated 18 April 2025
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Inside season two of ‘Star Wars’ spinoff ‘Andor’ 

  • Stars and showrunner discuss the final episodes of the acclaimed series 

DUBAI: As “Andor” returns this week on Disney+ for its second and final season, the acclaimed “Star Wars” spinoff barrels toward the events of 2016’s “Rogue One,” in which rebel spy Cassian Andor gives his life on a mission that triggers the events of the 1977 film that started it all: “Star Wars: A New Hope.” 

For Diego Luna, who reprises his role as the titular rebel hero, that inevitability heightens the emotional stakes. 

“As the events kept getting closer to ‘Rogue One’ it made every moment meaningful and full of complexity, because you know that that very dramatic fatal finale is coming,” Luna tells Arab News. “Therefore, every moment of life, every chance these characters have to breathe, is like a reminder of the end approaching. At least from my perspective, I was always thinking, ‘Oh my god, poor guy, he doesn't know what's coming.’”  

Tony Gilroy and Genevieve O’Reilly on the set of 'Andor' season two. (Supplied)

Showrunner Tony Gilroy adds: “Knowing where you’re ending up is the most liberating thing. It frees up everything else.” 

The new season will also bring closure for other characters in Andor’s life — some of whom aren’t in “Rogue One,” notably Adria Arjona’s Bix Caleen and Stellan Skarsgard’s machinating revolutionary Luthen Rael. 

“I got really lucky this season; I got to dig a bit deeper than I did in in season one,” says Arjona. “Bix goes through so much this season, so much healing and so much heartbreak. Every scene is a challenge. There's not a single scene in this show any of us can say was easy. You never let your guard down when you're handed such a great piece of material. It feels like a gift and I didn't take a single moment lightly.” 

“Andor” charts the title character’s transformation from disinterested, cynical nobody into a rebel hero on his way to an epic destiny. Season one, which debuted in 2022, was set five years before “Rogue One” and covered the first year of that journey. The 12 episodes of the final season are split into four equal “chapters,” each moving us a year forward. 

Adria Arjona in 'Andor' season two. (Supplied)

“There are 25 to 30 regular characters,” Gilroy says. “And the questions are: Who lives? Who dies? Who triumphs? Who fails? Who betrays whom?” 

British star Ben Mendelsohn, who reprises his role as the menacing Imperial officer Orson Krennic, tells Arab News: “I hope the audience takes away an experience of seeing two sides going to war. And I hope somewhere inside themselves, they can think both of these sides are fighting for what they think is a good idea, and ask themselves, ‘Which one do I prefer?’” 

While “Andor” draws heavily from real-world history, Luna insists it isn’t designed to mirror current global politics. 

“This is a story about revolution and about a community getting their hands dirty and coming together. It’s inspiring, yes, and it'll always be inspiring, because, throughout history, change has always been needed. However, we weren’t thinking about today,” says Luna. “We were concerned with being honest in telling this story within the framing of ‘Star Wars.’ 

“Basically, the writing of Tony Gilroy reflects everything he has gone through and the world he’s lived in. It's all there,” he continues. “There are references to 10 years ago, to 50 years ago, to the history we know about who we are and why we're here. And that's always going to be pertinent, not just today. Probably in 50 years, someone could see ‘Andor’ and be, like, ‘Is this about today?’” 


teamLab Phenomena opens immersive art space in Abu Dhabi

Updated 18 April 2025
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teamLab Phenomena opens immersive art space in Abu Dhabi

ABU DHABI: teamLab Phenomena opened its doors in Saadiyat Cultural District on Thursday, promising visitors a unique immersive experience.

The Japanese multi-sensory art experience features huge transformative exhibits that aim to engage the senses of sight, sound and touch while encouraging guests to interact with the world around them.

Divided into dry and wet zones, teamLab Phenomena is set to be “somewhere where you can feel that the world is continuous, and to feel that continuity itself,” according to founder Toshiyuki Inoko.

Divided into dry and wet zones, teamLab Phenomena is set to be “somewhere where you can feel that the world is continuous, and to feel that continuity itself,” according to founder Toshiyuki Inoko. (Supplied)

While it first opened in Jeddah in June last year, Inoko said that although the two experiences overlapped visually, the Abu Dhabi experience would be unique.

“Phenomena depicts ambiguous boundaries, or this idea that even if people enter an artwork and break it apart, it repairs itself. Or also transcending the notion of mass and floating material,” he said.

Speaking to Arab News Japan, teamLab’s global director, Takashi Kudo, said the Abu Dhabi experience introduced a brand-new concept — “environmental phenomena.”

This is rooted in triggering perception through natural yet unexplained phenomena, he explained.

“In one of the installations, water flows around visitors’ feet, responding in real-time to their movements, illustrating how the environment and the individual are in constant dialogue,” Kudo said.

“We’re not showing things that can be described in words. Instead, we’re sharing something we feel is beautiful and that we hope people will experience emotionally.

In the heart of Saadiyat Cultural District, teamLab is just one of the pieces that make up the UAE’s growing arts and culture hub. (Supplied)

“When you’re inside a teamLab space, you’re not just seeing something, you’re part of it. Your presence changes the art, and someone else’s presence changes your experience. It’s not about observing from the outside. It’s about feeling with your body and connecting with others in that shared space.”

Giving the examples of the fleeting beauty of cherry blossoms or the shifting colors of a desert sunrise, he added: “Life is full of small phenomena. We don’t know if people will like it or not. But we want to awaken curiosity because curiosity makes life beautiful.”

In the heart of Saadiyat Cultural District, teamLab is just one of the pieces that make up the UAE’s growing arts and culture hub.

The chairman of the Department of Culture and Tourism Abu Dhabi, Mohamed Al-Mubarak, described the district as a “puzzle or a beautiful painting.”

“Whatever way you look at it, it consists of these institutions, these cultural institutions, that all sort of continuously redefine themselves … It’s all sort of based on you as an individual,” he said.

Comprising seven museums and cultural institutes including the Louvre, Zayed National Museum and the Natural History Museum, Al-Mubarak said the architecture of the buildings was intentional and represented elements of the UAE.

“When you look at the architecture of the buildings of these museums, they are themed. They are a celebration of our culture and heritage. All of our buildings in the district have subtle metaphors to our heritage,” he said.

Visitors can see 12 artworks at the Abu Dhabi space, including the “Levitation Void” and “Massless Suns and Dark Suns.”

Each exhibit relies on real-time depictions and complex algorithms to ensure no two experiences are the same.