Open embrace of artificial intelligence
You didn’t have to wait long to hear about or learn about artificial intelligence (AI) at this year’s Shanghai International Film Festival (SIFF) – the topic was touched upon at the festival’s jury members’ opening press conference, and then continued to raise its head in panels, regardless of the focus it was really meant to be.
SIFF itself has embraced this phenomenon, with its AI Backlot initiative showcasing uses of the technology through filmmaking projects that are screened in front of festival-goers in real time. You can learn first-hand what artificial intelligence is, as it relates to filmmaking, and then perhaps make your own decision about whether it has a good or bad impact on the industry and on creativity in general.
There were diverse opinions shared by insiders – and the reactions of the “Cultural Value and Future Potential of Animation” panel were of particular interest simply because animation is the industry currently most threatened by or benefiting most from AI. “Maybe one day she will become an all-powerful, great role model,” said Yu Shui, director of the hit Chinese film. no one. “But it is precisely because we are small, imperfect models that we experience human emotions such as joy, anger, sadness, and happiness. The large model has no desires, and therefore has no emotions. Without emotions, there is no origin for art. Art, in its essence, is born of human pain and joy.”
To the casual outside observer, it may appear that China is rushing headlong into the AI era — after all, the claim is that the AI industry here is already worth about $174 billion — but it would be a mistake to think that concerns aren’t shared across the world. They were at the center of a fascinating discussion between Enlight Media CEO Wang Changtian (Ni Cha 2) and philosopher Liu Qing in a session titled “When Artificial Intelligence Learns How to Create, What Creates Cinema.” Wang explained how Enlite had explored artificial intelligence, but found it lacking — “It couldn’t meet our standards,” he said — and added that he had faith in human creativity. “Audiences respond to the most talented works, the most talented people. If we’re all using AI in the future, the most talented people will lead the way too, and it won’t be AI leading the way.”
Support for new arrivals
Saturday night’s Golden Goblet Awards quickly turned into a celebration of both young filmmakers and SIFF’s support for them over the years, through its various production initiatives.
It was a brave choice by Tony Leung Chiu Wai and his jury to award the top prize for the debut of Chung Kaifeng, with his first feature film Atlantic Rhapsody. But discovering up-and-coming talent is what SIFF is all about – and a great insight into how that actually works was provided by another first-time user in Gong Yiwen. Her first feature Her first taste – a wonderfully rich look at a young girl’s coming of age – won Best Asian New Talent, along with Best Actress for the impressive Ma Fufu in her first role.
Her first taste It came through the pre-production initiative for the SIFF project and before the awards Gong revealed how important that experience was, in terms of the mentors she offered production to to give her the courage to see her filmmaking dreams to fruition. “I think my very personal stories touched the hearts of some directors and they gave me very encouraging words,” the director said. “They said, ‘Maybe I should keep exploring this kind of personal style for films,’ and they really encouraged me to keep going.”
Love of cinema, never faded
Of course, Shanghai is mostly about the only thing that really matters: movie fans. This year’s edition presented an impressive collection of around 420 films from around the world. Jury president Tony Leung Chiu-wai spoke of the importance of educating young Chinese moviegoers, showing them a variety of films – beyond simple blockbusters – and thus motivating them towards cinema.
SIFF retrospectives always seem to do that, and beneath all the doom and gloom about declining box office numbers, the threat of short film dramas, or how “today’s kids” just don’t have the capacity to care, we found a glimmer of hope for the future in a mid-afternoon screening of John Huston’s film. Misfits Since 1961, Clark Gable and Marilyn Monroe gave the world what was arguably the best performance of their careers, sadly shortly before both stars passed away.
As soon as the credits rolled, you could feel the audience inside the majestic Wanping Theater catching its breath, and the 20 people in the audience turned around and simply said: “That was amazing.”
