Tamyiz–Iltibas: Visual Effects and Conceptual Design Phase — Where Artificial Intelligence and Adobe Premiere Converge to Sculpt Spiritual Imagery
Cirebon, October 29, 2025 — The International Office of UIN Siber Syekh Nurjati Cirebon proudly presents Tamyiz–Iltibas: The Morphology of Religion, an independent philosophical film conceptualized and directed by Muhammad Azkiya Bahtsulkhoir. The project’s current stage focuses on visual effects preparation and conceptual design, attended by Imam Abdurrohman (Arabic Language and Literature Department) who takes part as one of the cast members, and Indra Maulana Arfan Azis (English Language Teaching Department) who serves as the visual effects editor. “I sincerely thank my lecturer, also the Director of the International Office, Lala Bumela Sudimantara, Ph.D., for giving me this creative space to explore the intersections between theology, linguistics, and cinematic art,” said Azkiya during the session.
The film delves deeply into the philosophical and theological morphology of religion, like how it is interpreted, practiced, and occasionally distorted in modern society, producing what Azkiya terms as iltibas or confusion in interpretation. The narrative is rooted in a conceptual script that dissects humanity’s existential effort to achieve tamyiz, the clarity that distinguishes truth from falsehood. Within this framework, the project does not simply retell a story; it stages a dialogue between consciousness and spirituality, challenging the audience to confront their own perceptions of divine truth.
As the film enters its visual design phase, the creative team integrates cutting-edge technology, combining Adobe Premiere’s cinematic capabilities with artificial intelligence to sculpt abstract spiritual imagery. The collaboration highlights the growing relevance of digital literacy in the humanities, where software and algorithmic precision merge with artistic intuition. According to the production team, this fusion of tools aims to evoke a transcendental visual experience—an interpretation of metaphysics rendered in pixels and soundscapes. Each visual layer is meticulously crafted to represent the transition between consciousness and illusion, forming a meditative rhythm within the film’s structure. This stage not only refines the technical aspects but also deepens the film’s philosophical core, ensuring that every effect carries symbolic meaning.
Azkiya explained that Tamyiz–Iltibas is not merely a film but a philosophical reflection framed through visual narrative. “Every frame represents a battle between chaos and order,” he stated, “between the human brain’s material processes and the immaterial pursuit of meaning.” The story’s protagonist, Mumtaz, serves as a metaphor for consciousness itself, journeying through an internal war where characters personify parts of the brain such as the Hippocampus, Neocortex, and Amygdala. Each represents a facet of thought and emotion (memory, logic, and instinct), struggling toward harmony. The visual depiction of these elements turns abstract cognition into something tangible, inviting viewers to witness the anatomy of the soul. Through this intricate balance of science and symbolism, the film transforms the human psyche into a cinematic landscape.
Scheduled for release during Ramadan 2026, the film positions itself as a bold cinematic experiment merging philosophy, linguistics, and aesthetics. The International Office’s support underscores the university’s commitment to fostering interdisciplinary creativity and innovation among its students. The collaboration also exemplifies how artistic expression can become a medium for critical reflection, pushing the boundaries of academic exploration into spiritual and visual territories. This milestone marks another progressive step for UIN SSC’s creative engagement on the international stage, bridging education, culture, and technology. By empowering young filmmakers to explore complex ideas through art, the institution strengthens its reputation as a catalyst for intellectual artistry. The project thus stands as both a cinematic and academic achievement in redefining modern spiritual discourse.
Reflecting on the ongoing progress, Azkiya shared his aspirations for the project’s impact: “Through this film, I want to remind audiences that faith and intellect are not opposites, they are two wings of the same flight.” His statement encapsulates the essence of Tamyiz–Iltibas: a cinematic pursuit of clarity amidst the noise of interpretation, inviting viewers to rediscover the divine within the depths of human thought. The fusion of theology, psychology, and digital art in his vision demonstrates a rare integration of faith and innovation. This synthesis not only enriches Indonesia’s creative landscape but also resonates with a global audience seeking meaning beyond entertainment. Through Tamyiz–Iltibas, Azkiya and the International Office together redefine what it means to think, believe, and create.
Author: Salsabilla