Few filmmakers have explored the human condition through technology and biology as David Cronenberg. Long a fan of blending experimental technology with the corporeal in films like Videodrome, The Fly and Crimes of the Future, with the advent of generative AI, the Canadian director would seem like one of the most likely filmmakers to explore its possibilities. Earlier this year, filmmakers Cameron and Colin Cairnes sparked debate over the use of AI in filmmaking when it was revealed several scenes in their film were the product of generative AI. Cronenberg is embracing AI as a filmmaking tool, including in his latest feature, The Shrouds.
“It’s just another tool, and it’s one that I welcome,” Cronenberg told The Curb at the Marrakech International Film Festival, where he is attending to receive the festival’s honorary award, the Golden Star. “I’ve used it in my last few movies.”
Discussing AI’s role in The Shrouds, Cronenberg explained its practical applications. “There are things you can correct—relight a scene after it’s shot, fix details on an actor’s face that weren’t supposed to be there. Instead of doing 10 more takes, you can use the best one and adjust it in post-production. It’s very straightforward stuff. It’s almost like using Photoshop, but that’s still AI.”
Premiering at Cannes earlier this year, The Shrouds stars Vincent Cassel as a grieving futurist who invents a technology called GraveTech. The system allows mourners to watch their loved ones decompose in real-time via cameras installed inside burial shrouds, viewable through gravestone monitors or an app. The film, which many critics have described as emotionally distant, was Cronenberg’s way of processing the death of his wife in 2015.
“I think of human beings as a mix of the physical and the non-physical,” Cronenberg explained during a Q&A in Marrakech. “Both elements are always present. For me, technology is already a part of that balance. I have an AI chip in my hearing aid. The lens of my eye is plastic; I don’t wear glasses anymore. My entire interaction with the world is mediated through technology.”
Cronenberg acknowledged that AI is not new to filmmaking, even if its use often goes unnoticed. “It's not a new thing, really. I mean, it's getting more sophisticated and so on, but it's just another tool for us. It's a great tool. In The Shrouds, you see a lot of CGI that wouldn't have been possible a few years ago because of the advance in imaging and the sort of the brain power. Most filmmakers have been using AI for years, whether it’s to create something or correct something. That’s the beauty of digital cinema compared to film. We all have nostalgia for analog film, but digital cinematography is simply better to work with.”
Still, he tempered his enthusiasm with caution, recognising AI’s potential for misuse outside of art. “I’m just talking about movies,” he said. “I’m not talking about AI controlling nuclear weapon stockpiles or anything like that. Of course, like any technology, it can be dangerous if misused. But in film? I really think it’s exciting.”