If French director Xavier Gens had delayed the production of his 2024 Netflix hit Under Paris until now, artificial intelligence would have allowed him to slash his visual effects budget in half—to 2 million euros ($2.34 million)—and compress a year-long post-production timeline down to just three months. This dramatic shift highlights the core theme of this year’s Cannes Film Festival, where the debate has evolved from whether AI should be used to precisely how it can be implemented to save time and money as the industry fights to rebuild post-pandemic audiences. Gens is already exploring these tools to expedite the editing process for an upcoming sequel.
The growing acceptance of AI is evident across the festival. Meta joined Cannes as an official multi-year partner, and its AI software was utilized in Steven Soderbergh’s new documentary on John Lennon and Yoko Ono. However, festival organizers maintain strict boundaries, excluding films primarily driven by generative AI from competing for the prestigious Palme d’Or—a stance mirroring recent Academy Awards guidelines requiring human actors and writers. Festival Director Thierry Fremaux emphasized that AI cannot substitute for foundational talent, noting, “To ride an electric bike, you have to know how to ride a normal bike.”
The corporate side of the industry is leaning heavily into the technology. The Cannes Film Market featured presentations from tech giants like OpenAI, NVIDIA, Alphabet, and Disney Accelerator. Filmmakers are increasingly drawing a line between controversial generative content and acceptable production enhancements. Acclaimed director Guillermo del Toro urged the industry to distinguish between the two, noting that labeling all functions under the umbrella of “AI” hinders proper discussion. Industry insiders point out that this is a notable shift from the stigma seen at the 2025 Oscars regarding AI-altered dialogue, arguing that the technology is ultimately an effective tool to enhance human talent. While some executives caution that AI cannot perfectly predict the success of unique cinematic “prototypes,” most agree that rejecting the technology outright will put creators at a distinct disadvantage.
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