Artificial intelligence (AI) is no longer a futuristic promise—it has become a central protagonist in the present, particularly at the 2025 Cannes Film Festival. While stars and renowned auteurs continue to dominate the official competition, the heart of the Marché du Film—the world’s largest film market—is abuzz with discussions on how this technology is reshaping audiovisual production. From workflows to ethical and legal dilemmas, AI is now at the core of the industry’s transformation. One of the festival’s key moments was the roundtable “Reimagining Production: Navigating AI Innovations, New Business Models and Emerging Legal Frameworks,” organized by Cannes Next and the International Screen Institute. Held on May 18, the panel brought together experts from diverse fields to discuss the profound changes underway.

Moderated by Sten-Kristian Saluveer, the debate balanced pragmatic enthusiasm with a healthy dose of caution. Creative director Verena Puhm, who comes from a background in traditional filmmaking, celebrated the speed and versatility AI offers: “I feel like a child again. I can do more, better, and faster.” For her, AI doesn’t replace the artist—it enhances them.

Polish producer Marta Krzeptowska echoed this sentiment, citing her own experience. Thanks to AI, she has gone from managing three projects to working on twelve simultaneously. Still, she warned of the fragility of copyright in this new era: “We are standing at the edge of a new century, where even the worst-case scenarios become possible.” From the legal front, Charlotte Lund Thomsen, an intellectual property policy advisor, emphasized the urgent need to establish clear regulatory frameworks. In her work with the EU, she advocates for the audiovisual sector to be included in the AI Act legislation. “We don’t just work with technology. We create culture, employment, and economic growth,” she noted.

The debate also addressed the practical impact of AI on creative processes. Puhm explained how she integrates specific tools to achieve precise visual results—for example, in breakdancing scenes where only Google Veo 2 could deliver satisfying output. “It’s not about eliminating jobs, but transforming them,” she asserted.

Alongside the forum, the cultural impact of AI was also reflected in the festival’s programming. In Dalloway, a film by French director Yann Gozlan, a blocked writer turns to generative AI, which ends up taking over her creative process, questioning the boundary between assistance and dependency. “Will it help us or enslave us?” the director asks.

In the out-of-competition action thriller Mission: Impossible – Dead Reckoning Part Two, AI appears as a full-blown villain—an evil entity bent on eliminating humanity. These narratives suggest that AI is not only changing how films are made, but also what stories are being told.

Meanwhile, companies like Largo.ai offer services to producers to cut costs and optimize processes. Its co-founder, Sami Arpa, insists that “AI doesn’t replace human creativity; it amplifies it.” Their tool analyzes scripts, proposes casting options, and predicts box office performance, already boasting over 600 clients in Europe and the United States.

In response to the growing chorus of opinions, festival general delegate Thierry Frémaux tried to reassure audiences: “I don’t think we need to worry too much. AI isn’t going to invent someone tasting a madeleine and suddenly producing 500 pages,” he joked, referencing In Search of Lost Time.

The general takeaway is clear: AI is no longer a distant threat, but an unavoidable reality. The challenge lies in how it is used—ethically, judiciously, and in dialogue with the creative and legal principles that uphold cinema as both an art and an industry.