Justin Bateman’s Non-AI Film Festival is now available to stream.
The Credo 23 Film Festival, a gathering dedicated to handmade human work that Bateman launched last year, will have films available for viewing through a digital “room” at RoomC23.com through July 10, Bateman said. Any consumer interested in the service can purchase a “key” to the room for $40, allowing unlimited viewing of the production.
Among the titles are various short works that have been active at the festival. Features like Starring Lukas Haas crystal gloss and Bateman’s own David Duchovny topline feature feel; There’s also a special conversation with Sean Baker, Reed Morano, and Matthew Weiner, all of whom support Bateman’s human-centered mission. Approximately 44 movies and events can be viewed in total.
“For audiences who were unable to attend the Credo 23 Film Festival, we hope to bring a curated collection of winning films, finalists, panels and Q&As directly to them,” Bateman said. hollywood reporter.
The “no-AI” festival, which held its second edition in Hollywood last month with sponsors such as Kodak, is dedicated to the premise that “there is no generative AI in filmmaking. It is based on stolen works, only regurgitation of the past.” Many of the films shown have the raw feel of early Sundance projects. The festival also donates all profits to filmmakers in the form of grants for future projects.
Hollywood is full of creators talking about how they’re fighting automation in the arts, but Bateman is one of the few who’s building businesses and organizations around it. The Digital Room was born out of both the festival and Credo 23, her three-year-old organization that certifies that films are AI-free.
Bateman’s philosophy is that as AI tools become more prevalent at all levels of filmmaking, audiences will initially crave such automation but eventually tire of it, especially as the ease of filmmaking brings higher mountains.
she wants to build a building, she says THR“A tunnel through the current ‘volume content’ distractions and near-absence of curation.”
She said audiences “have the right to enjoy a committed, high-quality, humane filmmaking effort.”
