AI film 'The Mother's Monster' draws 53M views on $2,000 budget

For years, producing a fantasy narrative about a mother birthing and protecting a dragon required major studio backing, massive visual effects teams, and budgets spanning millions of dollars. That equation has shifted following the release of "The Mother's Monster," an artificial intelligence-generated film that accumulated more than 53 million views on YouTube within two weeks.

The project was completed by Pakistani content creator Zahid Iqbal in less than 72 hours at a cost not exceeding $2,000. Operating outside traditional Hollywood studios, Iqbal wrote, directed, and supervised the production through Zetomate, an AI-focused studio he founded. This development coincides with intense competition among economic powers to control these technologies. Estimates from The Business Research Company indicate the AI-in-cinema market will grow from its current value of $1.97 billion to $4.6 billion by 2030.

Critics debate human touch

Art critic Tarek Al-Shennawy told "24" that every new experiment finds its audience, citing hologram concerts featuring stars such as Umm Kulthum, Abdel Halim Hafez, and Talal Maddah. He noted that while he attends these events, he cannot fully engage with the images on stage, though he acknowledged that reception issues might evolve over time.

Al-Shennawy stated that AI is now an undeniable reality in cinema, referencing his service on a jury that awarded prizes to AI-generated works. He predicted expanding presence in international festivals and possibly the Oscars, suggesting the ceremony’s centennial edition could feature a dedicated category for such films. However, he distinguished between technical capability and human essence, asserting: "Conscience is creativity, not intellect... there is artificial intelligence, but no artificial conscience."

The critic supported this view with personal experience, having read articles written in his name using AI. He found them unrecognizable and lacking what he described as the "privacy" or internal characteristics unique to any writer or creator.

Star power remains essential

Writer and critic Mohamed Abd El-Rahman began his commentary to "24" with a joke: "If all films will be made by AI, why shouldn't art criticism also be written by AI?" Returning to serious analysis, he explained that the experiment remains under testing, with its continuation dependent on audience acceptance of this new style. He suggested it might suit specific ideas and stories, but emphasized that human presence remains fundamental, particularly regarding stars who connect with audiences beyond the screen.

"An AI-made star will not walk in the streets, will not marry, and people will not feel anything with him," Abd El-Rahman said. He anticipates cinema will pass through a phase of fascination with new tools before regulating their use in the future, such as executing chases, explosions, and difficult scenes via AI while keeping the human element central to the film. He summarized his fears by stating that without this balance, everything becomes canned, resembling video games rather than movies.

Scriptwriting faces disruption

Real artistic change is already infiltrating behind-the-scenes processes. Writer and screenwriter Nabil Harbi Al-Kathiri clarified to "24" that AI can alter scriptwriting itself, not just scene and dialogue creation. It can generate ideas and texts, prepare complete scenarios, save them for later use, and present them to authors, screenwriters, and directors based on their interests.

Al-Kathiri pointed out that audiences may struggle to distinguish between human-written scripts and those created by AI, as they receive the final form of the film or series. Conversely, directors, authors, and screenwriters can detect the difference more easily due to their expertise with writing tools, meaning AI’s impact on the film industry begins long before shooting starts.

Festivals rethink judging criteria

Major film festivals are entering the discussion, particularly regarding the inclusion of AI-made works in official competitions, especially at Cannes and Venice. Mohamed Saadoun, founder and director of the Alexandria Short Film Festival, told "24" that traditional judging standards must be bypassed. In this context, the director operates outside the usual production chain, without filming, actors, or live executive elements, necessitating assessment based on their ability to harness AI to serve their vision.

Saadoun added that narrative method and plot structure remain the sole criteria for evaluating work, even if the text is drafted automatically, because the writer provides the machine with prompts and scene structures. He affirmed that the real bet lies in the depth of the idea, its ability to reach the audience, and the director’s skill in presenting an integrated artistic vision.