AI Filmmaking Tools Reshape Cannes Film Festival Debate
Artificial intelligence is rapidly transforming film production, and the debate at this year’s Cannes Film Festival has shifted from whether AI should be used to how far the industry should embrace it.
French director Xavier Gens said AI could have dramatically reduced the production timeline and visual effects costs for his 2024 Netflix thriller “Under Paris”, which centres on a giant shark in the Seine.
“I would do it in three months instead of one year,” Gens told Reuters at Cannes. He added that visual effects costs could have fallen from 4 million euros to 2 million euros through the use of AI-powered tools.
AI Speeds Up Film Production
Gens explained that he began exploring AI applications while preparing “Under Paris 2”, following the lengthy post-production process of the original film. The first movie, among Netflix’s most watched titles, required nearly a year of post-production editing.
AI tools can automate several labour-intensive post-production processes. Consequently, filmmakers working on visual effects-heavy productions can save both time and money. In films such as “Under Paris”, visual effects teams must blend computer-generated imagery with real footage, a process AI can streamline significantly.
Moreover, analysts at Morgan Stanley estimated last year that generative AI could reduce film and television production costs by as much as 30%.
Cannes Embraces AI While Setting Limits
The Cannes Film Festival, traditionally associated with classic filmmaking, is adapting to changing technology. This year, Meta became an official festival partner through a multi-year agreement.
Meta’s AI software contributed to director Steven Soderbergh’s documentary about John Lennon and Yoko Ono, which appeared in the festival’s official selection. However, the film did not compete for the Palme d’Or.
Festival organisers have clarified that films primarily driven by generative AI are not eligible for the Palme d’Or competition. Their position broadly aligns with updated Academy Awards rules stating that acting and writing must remain human-led.
Festival Director Thierry Fremaux stressed that AI cannot replace artistic talent.
“To ride an electric bike, you have to know how to ride a normal bike,” Fremaux said.
Film Industry Innovators Gather At Cannes
Beyond the main festival, the Cannes Film Market has become a major centre for AI discussion and experimentation. Startups gathered at the market’s “Innovation Village”, where technology firms showcased new filmmaking tools.
In addition, the market hosted two days of invite-only AI conference panels for the second consecutive year. Representatives from Alphabet, Disney Accelerator, NVIDIA and OpenAI participated in presentations and discussions.
Although many directors reject the idea of AI generating complete scripts or films from prompts, attitudes toward production and post-production tools are becoming more accepting.
Mexican filmmaker Guillermo del Toro argued that the industry must distinguish between generative AI and practical production tools.
“In a very dishonest way, (AI is) all under the same name,” del Toro told Reuters. “To have a proper discussion, you have to distinguish generative AI and any other function of AI.”
Growing Acceptance Of AI Enhancements
The discussion reflects a broader industry shift since the 2025 Oscars, where AI-generated voice enhancements in “The Brutalist” sparked controversy.
Alex Serdiuk, chief executive of Ukrainian company Respeecher, defended the technology used to improve Adrien Brody’s Hungarian dialogue in the film. He argued that AI should be viewed as a tool supporting human performance rather than replacing it.
Meanwhile, startups continue introducing new AI-driven applications for filmmakers. One example is Largo, which provides audience insight tools and simulated focus groups designed to predict viewer reactions.
Still, some executives caution that filmmaking success remains difficult to quantify.
Elisha Karmitz, chief executive of French production and distribution company MK2, said every film shown at Cannes is effectively “a prototype”.
However, Karmitz acknowledged that rejecting AI entirely could leave filmmakers at a competitive disadvantage as the technology evolves across the industry.