DragonStudios.ai, an AI-native production company based in South Africa, has been announced as a finalist in the Neu Wave AI Film Festival, part of LA Tech Week. The series, titled Mountain of Graves, will compete for the Topwave Vertical Films Competition award on 14 October in Santa Monica.
The series was commissioned by Buka Africa and written by the creative leads at DragonStudios.ai, Donovan Marsh and Steven Cholerton, together with creator and writer Phuti Lehong Buka. It tells the story of two brothers who try to stop a mining company from taking the mountain where their ancestors are buried. The ten-episode series is presented in a vertical format designed for mobile viewing.
What sets the project apart is that it was produced entirely using AI filmmaking platforms. These platforms generate visual effects, virtual locations and even synthetic actors, allowing a small team to create a full-length narrative without the traditional budget for sets, crews and post-production facilities. Marsh says the approach can bring production costs down to a fraction of the usual spend, making it possible for African stories to reach international audiences.
Why the selection matters for small producers
The festival brings together filmmakers, technologists and studios that are exploring how artificial intelligence can reshape the economics of film and television. For independent creators, the recognition signals that AI-driven workflows are gaining credibility in a market that has long been dominated by large studios and expensive infrastructure.
DragonStudios.ai has already earned international attention for two other AI-native projects, Dragon Hunter and Bad Muti. The latest finalist spot adds to a growing portfolio that demonstrates how generative AI can be used from script to screen.
Marsh, who previously wrote, directed and edited South African feature films such as Spud and iNumber Number, sees the technology as a bridge between traditional craft and new tools. “We want to help take African stories and films to international audiences and believe that AI plays an important role in creating new films from scratch,” he said in the company statement.
For entrepreneurs in the creative sector, the development suggests a new business model: small teams can produce content that meets global standards without the capital outlay that has historically limited entry. The vertical, mobile-first format also aligns with the rise of short-form streaming platforms, opening additional distribution channels.
The selection comes at a time when Hollywood studios are experimenting with AI for visual effects and script analysis. While the technology is still evolving, the festival’s focus on AI-generated storytelling provides a testing ground for early adopters.
DragonStudios.ai will learn the outcome of the competition on 14 October, but the finalist status alone offers a proof point for other South African creators considering AI-based production pipelines.
Bizcommunity reported that the finalist slot places DragonStudios.ai alongside a global cohort of filmmakers and creators who are probing how artificial intelligence reshapes both the cost structure and the creative scope of film and television. The Neu Wave AI Film Festival, staged as part of LA Tech Week, convenes not only directors but also technologists, studios and innovators working at the junction of AI and entertainment. By securing a place in the Topwave Vertical Films Competition, the South African outfit signals that its AI-driven workflow is being recognised on an international stage, reinforcing the credibility of AI-native production for emerging markets.
Bizcommunity noted that the ten-episode series is delivered in a vertical format specifically designed for mobile consumption, a choice that mirrors the accelerating shift toward short-form, on-the-go viewing. This orientation dovetails with the rise of platforms that prioritise portrait-oriented content, allowing producers to tap into audiences that prefer scrolling on smartphones rather than traditional screen setups. The vertical approach also reduces the need for extensive set design, as AI-generated environments can be framed to suit the narrower aspect ratio without sacrificing visual richness.
In a statement, Marsh explained that AI supplies essential components such as visual effects to producers at a fraction of the traditional cost, enabling stories to reach a global audience without the heavy capital outlay typical of conventional filmmaking. He highlighted that synthetic actors and virtual locations can be blended with traditional footage, creating a hybrid that preserves narrative authenticity while leveraging generative tools. This cost efficiency, Marsh argued, is especially valuable for storytellers operating outside established production hubs, where budget constraints often limit creative ambition.
The AI-native model works by feeding script elements into generative platforms that then render scenes, characters and effects automatically, eliminating many manual steps. For a South African business owner, this means a small team can produce content that meets international quality standards without investing in large crews, physical sets or post-production houses. The model also shortens production timelines, allowing quicker response to market trends. Stakeholders should monitor the availability of licensing agreements for AI tools, as well as any emerging standards governing synthetic media, to ensure compliance and protect intellectual property.
Looking ahead, the outcome of the Topwave Vertical Films Competition on 14 October will provide a benchmark for how AI-driven projects are judged against traditional entries. Industry observers will also watch how Hollywood studios continue to experiment with AI for visual effects and script analysis, as the festival’s focus on AI-generated storytelling creates a testing ground for early adopters. Continued recognition of projects like Mountain of Graves could spur investment in local AI infrastructure, encouraging more South African creators to adopt similar workflows and expand the continent’s presence in the global entertainment ecosystem.
