The Nation that Banned Cinema

One question that seems to be raised a lot recently is on the subject of video-on-demand services, and whether studios should release their latest films on the platform simultaneously with the theatrical run. However, such a move would surely lead to the ultimate demise of cinema as we know it.

The question may not be so swiftly dismissed in Saudi Arabia though, a country that has no cinemas and is entirely dependent on the home entertainment market. This hasn't always been the case, and throughout the mid-20th century there was a thriving cinema industry. But following decades of debate and opposing views of its effect on society, all cinemas were forced to close and a ban is still in force today.

'Wadjda' (2012), Dir. Haifaa Al Mansour.

In the past 10 years there has been a rise in Saudi filmmaking, with the most recent example; the award winning 'Wadjda' (2012), being of particular note. It is the first film to be shot entirely in Saudi Arabia, and comes also from the first female Saudi filmmaker; Haifaa Al Mansour.

Due to segregation of the sexes in the country, the director could not interact with the cast and crew directly when filming outdoor scenes. This resulted in her having to remain in the back of a van with monitors, all the while communicating with those on set by way of walkie-talkies.

The moderate success of the film, as well as the rise of production within the country has led to a fresh call to lift the ban on cinemas in Saudi Arabia. But it has also sparked debate once more, with those opposing it warning of the true cost to their way of life. It is an issue that is not likely to be resolved any time soon, but in the mean time I would recommend that you see 'Wadjda'. Not only is it a well made and enjoyable film, but it also goes some way to bridge a gap in the understanding of certain cultural and religious subtleties. Issues that are often best portrayed through the medium of film, and surely a main reason why the ban on cinema should be lifted.

When Science Fiction Becomes Science Fact

A pressing issue for the times that we are currently living in is concerning the potential risks surrounding artificial intelligience. Could the increasing rise in robotics lead to a brand new civilisation, and one that could in time turn against us in order to become the dominant species?

It's a concept that has been explored far and wide in cinema, with titles such as 'The Matrix' (1999) and '2001: A Space Odyssey' (1968) often being among the first to be mentioned. However, many of these films tell a tale that is far in our future and perhaps not as easy to envisage as actually being possible. But when considering some of the predictions from one of the leading experts in artificial intelligience, Ray Kurzweil, films such as 'Surrogates' (2009), 'I, Robot' (2004) or even the recently released 'Transcendence' (2014) may not seem so far fetched. That is; if you give any merit to Kurzweil's predictions.

A much more realistic and relevant vision is portrayed in 'Colossus: The Forbin Project' (1970), a film rumoured to be on course for a remake. It tells the story of a new supercomputer (codenamed "Colossus") put in place by the US department of defence to regulate its weapon systems and detect any threats automatically. Almost immediately after going live, Colossus detects a similiar system in Russia and requests that the two be allowed to communicate. This inevitably becomes the turning point for humanity, and the rest of the film plays out as you might expect.

Though it does paint a potentially bleak vision of the future, these views are coming from the persons in the narrative that haven't fully considered the results of their own project. The humans end up feeling repressed, but any negative retaliation from the supercomputer only comes from actions where the the humans have attempted to restrict its own right to be free.

The outcome is left to our own imagination, but the film serves as a warning to those who are at the cusp of turning this fantasy into a reality.