By Naseem Ally. ‘2030’ is a docu-drama film centring around futurist Fereidoun M. Esfandiary, otherwise known as ‘FM-2030’ who died in 1999. The futurist and author went into great depths on the marvels of modern technology, which we are now being accustomed to.

It was of his conviction that modern technology would allow for a push for a ”post-human” world where revolutionary technological advances would change a host of perplexing ills.

However, before he died of cancer in 1999 FM turned to science to cryogenically preserve his brain for a potential future awakening.

Before his passing, filmmaker Johnny Boston who met FM when he was 10, developed a strong friendship that led him to decide to create this film as a tribute to him.

With that being said, with this film being a docu-drama it does tend to throw off this film from time to time, and at points feels less like a tribute and more like a hidden camera show.

It blurs the lines and can throw off the audience, at least from my perspective, as at certain points in the film, it feels ‘badly scripted’ to the point where you can’t help but ask your self in certain scenes ‘is this real!?’

From what otherwise would have been an interesting insight into the ‘2030’ world, ended up swaying towards the higher end on the spectrum of a reality show than an informative documentary.

‘2030’ felt scattered and tended to divert which felt frustrating, to say the least. The film ‘Public Enemy Number One’ in my eyes, is a great model for actualising the full potential of a documentary.

And yes, this is a docu-drama so I can to some degree understand the reason for this film having a sense of ‘hysteria’ over its duration. I just wish it had more ‘documentary’ and less ‘drama’.

Especially with the running time of close to one hundred and five minutes, it felt dragged out and could have been more condensed. I felt the makers of this film didn’t really get the most from this subject, and in general, felt watered down.

From an aesthetic standpoint, this film is presented beautifully but even then it’s not enough to compensate for a lack of substance in this film. In this film, there’s input from a number of scholars and researchers who give interesting takes on the morals and ethics of certain technologies, but it’s so brief that it felt pointless to use the footage.

It’s as if this film was rushed, and aimed to tick as many boxes as possible.

Nonetheless, it was an attempt at presenting some insightful information on an interesting and somewhat provocative subject, but this film, unfortunately, feels like it gets lost in its own narrative.

‘2030’ is out now on-demand.

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