Sci-fi typically tackles the idealism of “oppression vs. oppressed” and “rich vs.

the poor”, and

our film is no different with its ideology. We also applied poverty to our short-film, having a
literal homeless man overthrow a higher power and having Arbeit to be a bounty hunter to gain
any bit of revenue.
The premise of Law Spurn was to dictate a world that turned into a wasteland due to resources
being scarce, the “people divided into either raiders or bounty hunters to survive” in our synopsis
implied that you’d either have to kill or hopelessly scavenge in order to survive poverty in this
world. Teras and Headman Dave’s base was meant to feel very modernised and (somewhat)
clean in comparison since they were the higher powers, but there was an intention of making
their base seem almost clinical with the lighting we used. Other films that have a similar vibe
towards their worldbuilding could be Judge Dredd(2012) and Bladerunner 2049(2017); Both
films having a dystopia with criminal means to survive in some parts of their world and the ones
who are higher in power have a more pristine vibe and appear technologically advanced, yet their
environments feel clinical and cold, giving the impression to the audience that they are morally
questionable, or at least that’s usually the case.
Even our rough narrative concept drafts had these elements echoed throughout our
brainstorming. My concept involved supernatural entities robbing the world of it’s resources for
their own personal gain, and the need to fight to survive. Most of the concepts (such as the
COMP and the syringe) were carried over to the final product, the only differences being some of
the narrative. Abdulrahman and Asem’s plot concepts tackled a far more realistic and political
approach to a post-apocalyptic setting. Abdulrahman had his plot revolve around an alternate
reality where Russia won the war against Ukraine and displaying the majorly negative effect on
the world because of it, while Asem intended neo liberal politics and climate change to provide
context and dictating the consequence of it. We scrapped those ideas due to political bias and
saving time for not too much bloated context for the state of the world in Law Spurn.
Abdulrahman’s concept also seemed a little controversial or risky due to it being based off of a
negatively perceived outcome on a real conflict.
The general film’s concept commentates on classism, which is a common commentary/trope
upon most sci-fi films such as Star Wars(1977) where the protagonists have less while the
antagonists have more. We didn’t have too much time in our short-film to provide enough
context for our world’s true state and what Teras has done to it, so most of our planned
representations of issues wasn’t possible aside from a few outliers.