AI in film

6 stories

Sixth ToneChinaChina’s Short-Drama Boom Was Built on Speed. Then AI Got Faster. AI-powered production is upending China’s ultrashorts market, cutting shoots, budgets, and specialized crew work while forcing companies to find cheaper ways to keep live-action production viable.

September 4

Sixth ToneChinaInside China’s Shift From Short-Drama Sets to AI Factories

September 4

Sixth ToneChinaInside the Chinese AI Studio Shrinking Short-Drama Crews to One Former animators, cinematographers, and VFX artists are helping build AI systems that can script, storyboard, generate, and revise short dramas with unprecedented speed.

September 4

The PlaylistPaul Schrader Reveals ‘Three Guns At Dawn’ Will Be Made Entirely With AI Instead Of Name Actors: “Those Jobs Are Gone, Babe” If you follow Paul Schrader on Facebook, you know the filmmaker has become one of Hollywood’s most vocal and provocative enthusiasts for artificial intelligence. He routinely experiments with AI, posts AI-generated image

September 4

Tamar AI’s TapNow Brings AI-Native Filmmaking to Venice Production Bridge With HappyHorse-Backed 10,000 Parallel Universes Films, Unveils Streamer Glanze

Variety AsiaAsiaTamar AI’s TapNow Brings AI-Native Filmmaking to Venice Production Bridge With HappyHorse-Backed 10,000 Parallel Universes Films, Unveils Streamer Glanze Liu Haonan and Qiao Yuhang have been finishing each other’s stories since high school, where they drew together, talked about animation and film, and traded ideas for comics and stories of their own. More than a decade l

September 4

The PlaylistPaul Schrader Plans 3 More Films: ‘Non Compos Mentis,’ Drug Trip Movie ‘The Doors Of Perception’ & ‘Three Guns At Dawn’ Reconfigured With AI Most filmmakers entering their ninth decade might reasonably begin winding down. Paul Schrader , however, continues to work at a pace that would exhaust directors half his age. Since his late-career resurgence with “ Fir

September 3

Cinepuuulse is a magazine, a radar and a diary about Asian cinema — Japan, Korea, China, Taiwan, Hong Kong, Vietnam, Thailand — read from Tokyo.

Our mark is 銀幕, ginmaku, the old word for the silver screen; it is the same two characters in Japanese, Chinese and Korean. A magazine, because every week one film is worth reading about slowly. A radar, because we count what the region's screens are talking about — box office, festivals, directors, anime, streaming — and show it as it moves. A diary, because a seal is set each day in that day's colour, and the days add up.

We read the local press in its own languages and bring it over in English: the Japanese film sites, the Korean trade papers, the Chinese culture desks, the Vietnamese and Thai entertainment pages. Everything here links back to the people who made it; the images belong to their authors.

Cinepuuulse will keep changing. New sources, new signals, new ways of looking — a little better each week, never finished. If a film here made you want to buy a ticket, that is enough.

Thank you for reading. ありがとうございます。