Steven Spielberg

Steven Spielberg is one of the most influential filmmakers in cinema history, with a career that spans multiple genres. Known for his films like Jaws (1975), Schindler’s List (1993), and Jurassic Park (1993), Spielberg has also become synonymous with a specific fascination: UFOs and non-human intelligence (NHI). This interest is reflected not only in his filmmaking but also in his advocacy for greater transparency regarding UFO research. Through his films, Spielberg has shaped the public perception of UFOs and the unknown, while also pushing forward the conversation on the existence of NHI.

Close Encounters of the Third Kind (1977) is one of Spielberg’s most direct engagements with UFOs. The film portrays a group of individuals who experience inexplicable encounters with UFOs and journey to understand their meaning. The film’s realism is underscored by Spielberg’s collaboration with Dr. J. Allen Hynek, a renowned UFO researcher, who helped ensure that the depiction of UFO phenomena was scientifically grounded. Close Encounters not only presents UFOs as plausible but also opens the door for public curiosity about the existence of NHI.

In E.T. the Extra-Terrestrial (1982), Spielberg shifts the narrative to a more personal and heartfelt story about a young boy who befriends an alien stranded on Earth. Through E.T.’s character, Spielberg explores the potential for peaceful interaction with NHI. The film, while aimed at a family audience, explores themes of communication, empathy, and understanding between humans and NHI, challenging the often hostile portrayal of extraterrestrial life seen in many films.

War of the Worlds (2005), a more dramatic and apocalyptic take on NHI contact, portrays the arrival of hostile alien invaders. Based on H.G. Wells’ classic novel, the film emphasizes the vulnerability of humanity and the terrifying potential of advanced NHI technology. This depiction of NHI stands in contrast to E.T., presenting an exploration of fear and survival rather than empathy and understanding.

Alongside these direct portrayals of UFOs and NHI, Spielberg’s production company, Amblin Entertainment, produced the TV series Taken (2002). This series explored the psychological, social, and emotional effects of alien encounters over multiple generations. The storyline examined not only the concept of NHI but also the human response to such contact, reinforcing Spielberg’s ongoing interest in the implications of these encounters.

In addition to his films and productions, Spielberg is also a private collector of UFO-related materials, further indicating his deep personal interest in the subject. His collection includes books, documents, and artifacts related to the study of UFOs and NHI, and he has long supported initiatives aimed at raising awareness about these phenomena.

Spielberg’s films frequently explore themes of the unknown, the mystical, and the ancient—territory that closely mirrors the focus of government programs like Project Sun Streak, where remote viewers were tasked with perceiving hidden or inaccessible targets. One such target was the Ark of the Covenant, a legendary religious artifact believed to hold immense power. The Ark isn’t just speculative lore—it played a central role in Raiders of the Lost Ark (1981), where Indiana Jones races against Nazi forces to recover it. In the film, the Ark operates on two levels: it’s a physical object driving the plot, and a symbol of humanity’s long-standing obsession with sacred relics, forbidden knowledge, and divine power. Spielberg’s depiction draws on real-world intrigue—religious, historical, and esoteric—offering a cinematic reflection of our collective yearning to unlock the mysteries of the past.

The Ark, like many of Spielberg’s narrative devices, acts as a gateway to a much larger, often unknowable realm. While Raiders is a swashbuckling adventure on the surface, it also taps into deeper questions: What ancient knowledge might still be hidden? What powers have been lost—or concealed? This recurring theme of seeking out what lies just beyond the edge of human understanding is a hallmark of Spielberg’s storytelling.

Where Raiders looks backward, Minority Report (2002) and A.I. Artificial Intelligence (2001) look forward—each tackling different aspects of humanity’s relationship with technology. Minority Report imagines a future where crimes are stopped before they happen, thanks to a government-run program powered by psychic “precogs.” The film raises urgent questions about free will, state surveillance, and the trade-offs we make in the name of safety. Today, with the rise of predictive policing, algorithmic bias, and invasive data collection, the film feels less like fiction and more like a warning shot. It speaks to a world edging closer to automation-driven control, where the illusion of order masks a deeper loss of human agency.

In A.I. Artificial Intelligence, Spielberg pushes into even more existential terrain. The story follows David, a robot boy who wants nothing more than to be loved—a programmed emotion that becomes indistinguishable from human longing. The film grapples with what it means to be conscious, to suffer, to desire meaning. As AI development accelerates in real life, A.I. asks whether machines could one day cross the threshold from synthetic intelligence to sentient being—and what moral obligations we might owe them if they do. It’s a deeply emotional meditation on the consequences of creating life in our own image, and how that creation might outgrow us.

Both films feel eerily prescient. As we face a future shaped by artificial intelligence, automation, and surveillance, Spielberg’s visions feel less speculative and more like early blueprints. His work prompts urgent questions: Where are we heading, and who gets to decide? How do we safeguard what makes us human in a world increasingly built by—and for—machines? Minority Report and A.I. don’t offer answers, but they ask the right questions. And in doing so, they resonate strongly with the broader conversation around non-human intelligence (NHI)—both biological and artificial—as we stand on the edge of technological transformation.

Spielberg’s films continue to contribute to the cultural dialogue on NHI, blending the speculative with the possible. His exploration of the unknown, whether through peaceful contact as seen in E.T., hostile encounters in War of the Worlds, or the mystery of ancient artifacts in Raiders of the Lost Ark, provides a cinematic foundation for contemplating the broader implications of UFOs and NHI. Spielberg’s consistent return to these themes, in both his films and personal endeavors, has made him a pivotal figure in the ongoing discourse about the possibilities of life beyond Earth.