The Cannes Film Festival often acts as a global water cooler for cinema, surfacing the prevailing issues and anxieties of the industry. This year, the central topic is artificial intelligence. The 79th edition may be remembered as the first time the world's most prestigious film festival grappled with the onset of AI, which has arrived like a tsunami on the French Riviera. Its potential to reshape the movie industry, for better or worse, has been a constant debate since the festival opened.
Softening Tones on AI
In many quarters, the tone is softening. Scott Mann, co-chief executive of Flawless, a company specializing in assistive AI programs for post-production, said, "The buzz in Cannes and the industry feels like a turning point." AI is much more present both on screen and off. For the first time, Cannes has partnered with Meta in a multiyear deal, with the company setting up camp at the Majestic Hotel. Meta's AI tools were used to help produce a festival entry: Steven Soderbergh's "John Lennon: The Last Interview."
The documentary focuses on a lengthy interview Lennon and Yoko Ono gave on the day Lennon was shot in 1980. To add imagery matching Lennon's conversation, Soderbergh used Meta's AI programs to create surreal graphics. This choice drew scorn from most critics in Cannes, but Soderbergh, a highly skilled innovator who has shot movies on iPhones, believes experimentation is necessary. "We haven't seen yet someone with a certain amount of creative credibility go full-metal AI on something, and see how people react. I think it's necessary," Soderbergh said. "How do you know where the line is until somebody crosses it? I don't think what I'm doing crosses it. Some people may disagree. I don't know where my line is yet. I'm waiting to see."
Filmmakers Draw Their Lines
Filmmakers, actors, and others at Cannes have been drawing their own lines regarding AI. On opening day, juror Demi Moore said fighting AI "is a battle we will lose." The next day, honorary Palme d'Or recipient Peter Jackson stated, "I don't dislike it at all. To me, it's just a special effect. It's no different from other special effects." Filmmaker James Gray, whose starry family drama "Paper Tiger" was a standout, said he's not worried. "In some cases, it can be a very helpful tool," Gray said. "I don't think in our lifetime, or even our children's lifetimes, it will come close to mirroring the only true infinite we know, which is the soul." He added, "The answer I think is that most young people should be studying the humanities. People should be reading Tolstoy in their spare time to understand the human soul."
Changing Landscape from Oscars to Cannes
Cannes is unfolding in the wake of significant new developments for AI in Hollywood. Earlier this month, the Academy of Motion Picture Arts and Sciences announced new guidelines ruling that only performances "demonstrably performed by humans with their consent" will be considered for acting nominations. At the same time, the Oscar group said AI tools "neither help nor harm the chance of a nomination." The Screen Actors Guild-American Federation of Television and Radio Artists recently reached a tentative agreement with studios detailing AI guardrails for digital replicas and synthetic performers.
Some advancements have sent shudders through Hollywood. The unveiling of Tilly Norwood, an entirely AI-created "actress," sparked outrage. Earlier this year, the first look at a posthumous AI resurrection of Val Kilmer, for a film made with his family's consent, spawned another round of debate. But while more extreme uses of generative AI continue to prompt worry, other iterations make inroads. Kent Sanderson, Bleecker Street chief executive, said in a panel discussion, "It is going to be a part of our business. It is going to lower production costs, and yes, you probably will be able to make something that looks like a Marvel movie in your basement in a couple of years."
Cannes' Stance on AI
While Cannes has stringent rules for red carpet attire, it is issuing no decrees banning AI from film selections for now. The day before the festival began, artistic director Thierry Frémaux wryly responded to a question about AI, noting that James Cameron had used special effects for "Avatar." "What I can say with certainty in relation to artificial intelligence is that we are on the side of the artists, the screenwriters, actors and voice actors," said Frémaux. "We stand with everyone whose job could be negatively impacted by artificial intelligence. It requires legislation. We need to control this."
Mann, the Flawless executive, was sitting on the Cannes beach outside a party his company was throwing. Since 2019, Flawless has aimed to demonstrate that AI can be used thoughtfully. Unlicensed generative AI is bad, he states unequivocally. "But what we've found is that the way people don't understand is part of the problem. AI as a term is seen as a catchall, but it's not that simple," says Scott. "The truth is, our industry needs saving. It needs a technological evolution, and this is offering it."
