Justin Bateman Film Festival will be broadcast without AI.
The Credo 23 Film Festival, the gathering Bateman launched last year dedicated to human craftsmanship, will now make its films available via a digital “room” through July 10 at RoomC23.com, Bateman says. Any consumer interested in her shows can purchase a “key” to the room for $40 and watch an unlimited amount of work.
Among the titles are a variety of short films played at the festival. Features such as starring Lukas Haas Crystal Gross And Bateman’s own David Duchovny feature feel; and special conversations with the likes of Sean Baker, Reed Morano, and Matthew Weiner, all of whom support Bateman’s people-centered mission. There are about 44 movies and events available in total.
“For audiences who can’t make it to the Credo 23 Film Festival, we want to bring our highly curated collection of accepted films, finalists, panels and Q&As directly to them,” says Bateman. Hollywood Reporter.
The No AI festival, which held its second edition in Hollywood last month with sponsors such as Kodak, is dedicated to the premise that “generative AI has no place in filmmaking – it relies on plagiarized works, it only repeats the past.” Many of the works on view have the raw spirit of early Sundance projects. The festival also gives all profits to filmmakers in the form of grants for future projects.
While Hollywood is full of creatives talking about how to take a stand against the automation of art, Bateman is among the few who have launched business and organizational work on the topic. The digital room emerged from the festival and from Credo 23, its three-year-old organization that maintains that the film does not contain artificial intelligence.
Bateman’s philosophy is that as AI tools become more prevalent at every level of filmmaking, audiences will initially hunger for such automation, but eventually tire of it, especially as the ease of filmmaking leads to mountains higher than the cliffs.
She says she hopes to build THR“A tunnel through the current distraction of ‘volume content’ and the near absence of organization.”
She says audiences “deserve to enjoy the efforts of dedicated, high-quality human filmmaking.”
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