The camera learned to dream. Art hasn't forgotten.
68 essays · Updated weekly · Based between São Paulo and Los Angeles Scroll ↓
On May 1, 2026, the Cannes Film Festival awarded its top prize, the Palme d'Or, to an AI-generated film. This landmark event isn't just a headline; it's a direct challenge to the very definition of authorship and artistic merit in cinema. What does this mean for the future of human storytelling on screen?
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Netflix is now incorporating AI-generated footage directly into its productions, a move sparking heated debate across the film industry. For directors and producers who've always stretched budgets, this isn't just a tech upgrade; it's a fundamental shift in what's possible. But does it threaten human artistry, or open doors to creativity previously locked by cost and scale?
A note on what this publication is trying to keep alive — and what it's trying to keep from becoming.
The independent film "As Deep as the Grave" has ignited controversy by using AI to resurrect a youthful Val Kilmer. While filmmakers claim consent and compensation, critics question the ethics of posthumous digital performances. Is this expanding creative possibility or diminishing the very essence of human artistry?
§ 02 — From the notebook
"A model can render a thousand sunsets. Only one of them was the one we were waiting for."
The legal battles over AI training on copyrighted work are intensifying, threatening to redefine intellectual property for creators worldwide. As courts struggle to find consensus, the very foundation of creative ownership hangs in the balance. How can filmmakers navigate this uncertain territory without losing their livelihoods?
The recent viral AI-generated film clip featuring photorealistic A-list actors sent shockwaves through the industry, showcasing incredible potential but sparking intense debate. Is AI an unstoppable creative force, or a legal and ethical Pandora's Box for filmmakers?
Some designers are calling it the end of the profession. I spent 14 years leading audiovisual productions alongside creative directors at WMcCann and art direction from my Pichorra Filmes partner Lisandra Barros. My honest take: this isn't the end of design. It's the end of gatekeeping.
Anthropic quietly moved the goalposts with Claude 4. Not in a press release way. In a 'I stopped reaching for other tools' way. That's the real signal.
Google Veo 3.1, Runway Gen-4.5, Kling 2.5 Turbo — all inside Adobe Firefly now. The headline is the 30 models. The real story is Custom Models, and most creators are sleeping on it.
§ 04 — Stay in touch
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