Since it was introduced to society, the reception of Artificial Intelligence (AI) has always been divisive. Supporters recognize the technology’s convenience—enhancing work efficiency and avoiding human error, including bias in decision-making. On the other hand, critics raise concerns about the ethics, job displacement, and environmental issues AI may bring to the world. Both sides present valid arguments about AI in general, but what about in the realm of film and filmmaking that utilize these tools? It is just as complex and multi-faceted as the argument presented above.
In the early days of filmmaking, societal anxieties about machines were famously reflected in Fritz Lang’s Metropolis (1927), which depicted fears of AI as a tool of control and dehumanization. It is still, in fact, an existing trope that we can see in modern cinema; from the explicit portrayal of robot domination in the Wachowski Sisters’ The Matrix (1999) to a more nuanced depiction in Alex Garland’s Ex Machina (2014). Of course, some movies try to challenge this notion with unfortunately minimal impact, especially given how recently intelligent machines posed a concern to the film industry.
The emergence of ChatGPT in the early 2020s and the groundbreaking development of deepfake technology pose a job threat to screenwriters and actors, raising issues toward job security and ethical concerns regarding privacy and consent. Yet, I feel the impact also falls on us–the audience–who watch these films. If this trend continues, the content we consume could increasingly be shaped by data processing, resulting in generic, lifeless stories without any emotional core for viewers to connect with; which we already have plenty of even without the assistance of AI.
That is why I was beyond surprised when one of the Minikino Film Week 10 programmers, Bintang Panglima, recommended a short film program called PUZZLED—a collection of shorts revolving around modern technology including films that utilize AI. The program aimed to showcase how these films had ‘found new paths and forms.’ It offered me a chance to explore how far AI has influenced the industry; an opportunity to solidify, challenge, or shift my stance toward this evolving invention.
AI as filmmaking tools
Rachel Mclean’s Duck (2024) directly challenges the audience to question their standpoint toward deepfake. On the surface, it appears to be a stylistic homage to the classic Bond whodunnit, mixed with Hollywood pop culture references throughout the film; all utilizing the AI deepfake technology that evokes an uncanny valley effect. Despite my initial skepticism, I was surprised to find myself enjoying this short for its fun, quirky encounters that would be impossible to see in live-action.
Chaos ensues as the main character, deepfake Connery Bond, experiences surreal circumstances of ever-changing alternate events, multiple shadow clones of Marilyn Monroe, and a surprising reunion of Bond actors across generations. However, deep within the comical occurrence serves a deeper meaning, revealed when deepfake Connery Bond reaches his limits and experiences an existential crisis. I sympathize with Connery Bond, relating to the rapid development of AI technology, which I, too, struggle to keep up with. It leaves me feeling disoriented in my understanding of a world I once thought was much more simple. The inclusion of meta-commentary deserves praise, as Mclean skillfully utilizes AI tools throughout the whole runtime.
Le Quynh Ahn’s Goodnight Baby (2023), in contrast with the program’s opening, utilizes AI for a short amount of time, which plays an integral part in the film’s story and message. The live-action short featured a clip titled ‘The Last Fish on Earth’ which tells the story of a woman dressed as a stingray rejecting her mother’s funeral preparation, which suddenly turned into a soothing and therapeutic A.I. animation. The video went viral, and the creator, Gia Gia, was invited to a talk show with the agenda of discussing the clip she made. Simultaneously, she felt disappointed inside, as it was not her fashion videos—those she had worked diligently on for years—that had put her into the spotlight.
In contrast to ‘The Last Fish on Earth’, we as the audience could feel the rawness and genuineness of her outfit reviews. However, despite the inauthenticity that most AI videos contain, what matters in the algorithm is audience retention. Soon enough, there will come a day when the internet is filled with AI-generative content, prompting creators like Gia Gia to give up on their dreams of being passionate content creators due to market disinterest.
Ironically, for a film that seems to criticize AI, both films utilized the potential of technology well in delivering their stories and messages. Showcasing how films utilizing AI could still retain the author’s vision for the audience to be invested; even if doubts toward ethics on deepfakes and environmental concerns persist. Yet I do wonder can this program push further by shedding a positive light on AI to the audience.
A Reflection On Humanity
Jan Bitzen’s Bye Bear (2023) tells the story of robots gathering in a rundown motel, inviting us into their farewell party for one of their kind before they descend into the wilderness. It isn’t those wild and loud parties but rather a soothing one; accompanied by colorful settings, slow-motion shots, and cool ‘80s techno music. Some might argue that Bye Bear is a case study of style over substance with almost nothing to offer. However, deep toward the audiovisual experience, there is a reflection of ourselves that exists through these robots.
Having dreams to live as someone else or something great. Bonds are made through sharing similar interests. Parting due to strong desires for change that force us to move toward new environments. What these intelligent machines show us throughout the 11-minute runtime feels similar to the experience that most of us experienced in one stage of our lives. Granted, these robots might not resemble our physiques and do have some odd desires. But perhaps, we are not so different from them. After all, it is us, the humans, that created them isn’t it?
Pleasuredora (dir. Mark Prebble, 2024) strengthened this case as well, telling the story of Dora, a glitchy AI love companion nearing the end of her lifespan, and plans to be scrapped into a junkyard after finishing her last customer, a middle-aged man named Colin. The exchange started as a comedy for us viewers, only to turn into a deep conversation as Colin opened up about his marital struggles and feelings of being lost in life. Astonishingly, the humanoid robot sympathizes with him and shares her desire to live much longer.
What happens on screen isn’t the typical threatening monster of humanity’s failed creation, but portrayed as something compassionate and understanding machines that provide comfort and solution, if only for a brief moment. However, the warmth doesn’t last long, as Dora’s service reaches its time limit. Instead of repaying Dora’s action, Colin leaves her alone in the futuristic room; questioning who is the real monster in this situation.
The ending of Pleasuredora made me reflect that perhaps I am similar to Colin. For a long time, I have been antagonizing AI due to how cinema portrays intelligent robots as another step toward dehumanization. Even when AI models became a trend in the 2020s, I never considered them tools for filmmaking. However, it would be hypocritical to denounce AI’s functionality, especially for someone who uses it on a day-to-day basis. From using GPS to guide and help me reach my destination to saving a lot of time proofreading this article, I acknowledge that I have taken AI tools for granted. Yet it is important to treat the machine merely as assistance; especially in filmmaking.
There has been a rising trend of AI-made “films” which could be categorized as misuse and exploitation of the technology. Recalling those encounters made me realize my initial disdain toward AI started after seeing such a soulless product. This program is different, however, since these filmmakers intervene in the progress with a human touch. Fueled with strong artistic intention and belief that make these shorts alive with heart and emotionally resonant for the audience.
It seems that the four films presented in the PUZZLED program have shed new light on my perspective toward AI; both in its use in filmmaking and in how its functionality reflects us as creators. Of course, not to downplay the valid concerns and dangers of AI, as the filmmaker explicitly highlights in Duck with the deepfake ethics or the open-ended consequences of Dora’s liberation in Pleasuredora.
Editor: Bintang Panglima
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