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We saw 10 AI films and interviewed Runway's CEO as well as Hollywood pros.
Last week, I attended a film festival dedicated to shorts made using generative AI. Dubbed AIFF 2025, it was an event precariously balancing between two different worlds.
The festival was hosted by Runway, a company that produces models and tools for generating images and videos. In panels and press briefings, a curated list of industry professionals made the case for Hollywood to embrace AI tools. In private meetings with industry professionals, I gained a strong sense that there is already a widening philosophical divide within the film and television business.
I also interviewed Runway CEO Cristóbal Valenzuela about the tightrope he walks as he pitches his products to an industry that has deeply divided feelings about what role AI will have in its future.
To unpack all this, it makes sense to start with the films, partly because the film that was chosen as the festival's top prize winner says a lot about the issues at hand.
32 sats \ 2 replies \ @optimism 15h
The top 2 prized submissions:
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100 sats \ 1 reply \ @Car 6h
Think I have seen this about a dozen times already. We are crossing the chasm of whats possible narratively in a film. Not exactly sure what that means yet but this touches on that at a high level. The simplest explanation I have right now, is we become the character in our own films in the very near future that never ends. The joke “everyone has a podcast.” Soon, it’ll be “everyone has a film.” We’re about to become the main characters. It will be wild, big actors will be plugins you add in your story, it will be total pixel space.
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There's a mention around 5:15 about how most of the "space" is noise. If we're all the main character in the full feature movie we're publishing, resulting in billions of movies, does this transform potential "signal" to "noise"? Or perhaps: is one man's noise another man's signal?
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