What happens if A24 wants to make arthouse cinema with AI?

Until now, A24 has stood as the symbol of contemporary American arthouse cinema. In just over a decade, the independent production company has built a distinctive identity through films such as Hereditary, The Lighthouse, Everything Everywhere All at Once, and, more recently, Backrooms, becoming, for many viewers, the most credible alternative to the logic of the Hollywood majors. That is why the announcement of a multi-year partnership with Google, which will invest $75 million in the development of artificial intelligence tools for film and television production, has sparked a debate that goes far beyond a simple technology deal.

The first reactions appeared online. “Disgusting. A24 used to make only well-written, quality films. Then they started doing basically everything. And now this? Fuck you A24.” Just a few lines, posted on a Reddit forum dedicated to the Los Angeles film industry, were enough to turn the announcement into a collective outburst from fans, industry professionals and movie lovers alike. Reactions range from disappointment to anger. “AI simply steals all jobs and lacks originality,” one user writes. Another is even more direct: “Terrible. I will never watch another A24 film again.” Some urge caution, pointing out that the operational details of the agreement have not yet been disclosed, but the prevailing feeling is one of betrayal. For many, the issue is not simply the adoption of artificial intelligence, but the fear that the production company that came to embody a certain vision of independent cinema could end up legitimising a transformation destined to reshape the entire industry.

The agreement represents one of the most significant investments to date in the relationship between Big Tech and the independent audiovisual industry. According to the information released so far, Google will invest $75 million in the development of machine-learning technologies capable of supporting the entire production pipeline, from screenplay analysis and editing to colour grading, visual effects, motion capture and even the personalisation of marketing campaigns through audience data analysis.

For Google, the partnership marks another step in the race for generative artificial intelligence. For A24, meanwhile, it opens an entirely new chapter in the company's history. The studio behind films such as Hereditary by Ari Aster, The Lighthouse by Robert Eggers and Everything Everywhere All at Once by Daniel Kwan and Daniel Scheinert now finds itself at the centre of one of the most controversial questions facing contemporary culture: how far can technology enter the creative process without fundamentally changing it?

For now, the answer deeply divides audiences. On one side are those who see artificial intelligence as the inevitable evolution of filmmaking tools. Some visual-effects professionals point out that machine-learning technologies have been used for years to automate technical tasks such as rotoscoping and compositing. From this perspective, AI would not replace artists but enable them to work faster and with greater creative possibilities.

On the other side, a more radical critique is emerging. “CGI replaced the medium, not the artist,” one commenter argues. “AI is not a tool. It's an outsourced service. By using it, you move away from being a filmmaker.” It is a distinction that frequently reappears in today's debate: while previous digital innovations still required creative and technical expertise, artificial intelligence is widely perceived as a direct delegation of the creative process itself.

The employment issue makes the debate even more sensitive. Many users fear that the widespread adoption of automated systems could reduce opportunities for screenwriters, production assistants, technicians and emerging professionals. “Crews will be increasingly harmed by the loss of hours, benefits and the ability to make a living doing this work,” writes one industry professional.

At present, there is no evidence that A24 intends to replace creative workers with AI. However, the lack of concrete details surrounding the agreement continues to fuel doubts and speculation. Important questions also remain unresolved regarding intellectual property, data governance and control over the tools that Google and A24 will develop together. The real test will come when the first projects created with these technologies reach audiences. Only then will it become clear whether artificial intelligence will serve as a new creative tool for A24 or mark the beginning of a transformation capable of redefining the role of authorship in filmmaking itself.

More than the future of a single production company, the partnership between Google and A24 brings a broader question to the forefront—one that concerns the entire cultural industry: how far can artificial intelligence enter the creative process without changing the very idea of authorship?

Opening image: Backrooms, the recent horror film by Kane Parsons distributed by A24