AI may be accelerating across the film world, but it won’t replace the technology, collaboration, and human unpredictability that define cinema. That was the message from Berlinale president Tricia Tuttle and International Film Festival of India (IFFI) director Shekhar Kapur, who warned that technology will reshape workflows long before they match artistic intuition.
Tuttle pointed out that greater access to powerful AI tools does not automatically lead to higher artistic standards. “Tools don’t make a movie good. Storytelling and craftsmanship make a movie good,” she said. Mr. Kapur agreed, stressing that AI cannot yet replicate the creative energy that occurs between actors, directors, and crew in real time. Citing the complexity of the eye as an example, he pointed out that the nuances of human expression are an area where digital performance remains limited. “Great actors bring unpredictability,” he said, something that cannot be programmed.
This discussion positioned AI as the latest in a series of disruptive technologies. Kapur recalled that early digital workflows and early surround sound mixes were initially overused, before the industry learned to rein in them. He expects a similar trajectory for AI-generated materials. “There’s always a phase of overexcitement. Eventually, people settle into more balanced use,” he said.
Regarding the festival, Tuttle emphasized the impact on operations. Berlinale already processes around 8,000 submissions a year. AI could greatly expand that number. He added that with the increase in AI-generated content, quality control, rights verification and originality checks could become more complex.
Kapur argued that AI should not be seen as a direct competitor to theatrical films, especially in markets like India where the number of screens remains low. Instead, he expects AI-native content to create its own ecosystem in terms of platforms, aesthetics, and consumption patterns, similar to the growth of TikTok. “The look of AI is already emerging. It may not be reflected on the big screen, but it will form its own category,” he said. He also pointed out that there could be a surge in AI films produced by young people, which could create new entry points for non-traditional creators.
However, Mr. Kapoor warned that AI-heavy production could reduce the collaborative spirit that characterizes filmmaking. With fewer people physically involved, directors risk becoming creatively isolated. “It’s going to be a little lonely. I’m worried about just sitting in front of a computer with someone and not being able to call the action or cut,” he said, adding that while AI could democratize the entry level for young filmmakers, the trade-off is likely to be a less collaborative culture on set, with creative crews at risk of losing the push and pull of crew-based production and creative sparring.
During the session, Mr. Kapoor shared a trailer for his AI experiment, “Warlord,” a sci-fi project he is considering releasing on open source. “Every time we talk about space travel, every spacecraft looks the same. Everyone has built spaceships out of metal. I’m sure there’s some way to develop fabrics or materials that self-heal if the spacecraft tears as it traverses its dimensions. That’s when I thought of jellyfish. I thought, could we build a spaceship that functions like a jellyfish?”
Mr Tuttle’s concerns shifted to compensation and the “exploitative nature of this new technology”. She said, “As technology becomes more condensed and capital becomes more concentrated in fewer and fewer people, it becomes really difficult for people to make money. As someone who loves the arts, that’s what worries me more.”
Both speakers agreed that despite the disruption, AI will expand the video sector rather than replace traditional cinema. Festivals, distributors, and exhibitors will need to adapt their frameworks, from application guidelines to rights management and talent development, while maintaining film’s core values of emotional authenticity, narrative intent, and human presence.
