David Cronenberg on the ‘Promise and Threat’ of AI in Filmmaking: ‘Do We Welcome That? Do We Fear That? Both’

Refresh for latest…: The 77th Cannes Film Festival draws to a close this evening with the prize ceremony about to kick off inside the Grand Théâtre Lumière. The past 10 days have been building to this moment after a somewhat muted start that arrived under gloomy skies. The clouds have since cleared and several films have emerged as potential winners tonight. Scroll down for the list of laureates which is being updated as awards are announced.

French producer Dimitri Rassam is enjoying a high-profile Cannes Film Festival as producer of Competition title Limonov: The Ballad and The Count Of Monte Cristo, which scored a rousing 12-minute ovation at its Out of Competition debut.

EXCLUSIVE: Independent Artist Group has signed screenwriter, producer, director and showrunner Michael Petroni for representation.

Alex Ritman XYZ Films has acquired U.S. rights to the classic Cannes Directors’ Fortnight title “The World is Yours” directed by Romain Gavras from StudioCanal and to the TIFF hit film “We Gotta Get Out of This Place,” directed by Simon Hawkins and Zeke Hawkins.

Diane Kruger is opening up about how she landed her role in David Cronenberg‘s arthouse horror film The Shrouds.

There was an eight-year gap between the release of David Cronenberg’s “Maps to the Stars” and “Crimes of the Future.” Thankfully, we didn’t have to wait that long for his newest feature, “The Shrouds.” READ MORE: ‘The Shrouds’ Review: David Cronenberg Digs Into The Core Of How Messy Grief Can Be [Cannes] With “The Shrouds” debuting at Cannes, we now have our first teaser for the sci-fi drama from director David Cronenberg.

Grief is rotting Karsh’s (Vincent Cassel) teeth. It’s been four years since he lost his wife, the beautiful Becca (Diane Kruger), to a violent form of bone cancer that ate away at her body until her brittle frame could no longer sustain life.

David Cronenberg is a filmmaker who has created his own brands of sci-fi for quite some time. But even a filmmaker like Cronenberg, someone who has dreamed up what the future could look like, is amazed at what technology is capable of today, specifically artificial intelligence (A.I.).  Speaking at the Cannes Film Festival (via Deadline), where he recently premiered his latest sci-fi feature, “The Shrouds,” David Cronenberg talked about the emergence of A.I.

When it comes to whether AI is friend or foe, particularly in regards to its place in the film industry, David Cronenberg is both intrigued and terrified. “What do we do? I have no idea,” the Canadian horror sci-fi maestro said Tuesday at the Cannes Film Festival, the day after the world premiere of his new film The Shrouds.

Diane Kruger is looking stunning on the 2024 Cannes Film Festival red carpet!

When his wife died, Karsh tells the blind date he has asked to lunch, he had an overwhelming urge to jump into the coffin with her rather than see her sent away alone. Instead, he contrived a way to straddle the worlds of the living and the dead, setting up a luxury cemetery where the dead are wrapped in metallic shrouds that are like camera blankets. Above ground, there are screens over each grave on which you can watch your loved one disintegrating.

Owen Gleiberman Chief Film Critic “How dark do you want to go?” The man asking that is named Karsh (Vincent Cassel), and he’s seated in a minimalist art-chic restaurant having lunch with a blind date (though as she points out, how blind can a date be in the age of Google?). The one who’s really asking the question, though, is David Cronenberg, writer-director of “The Shrouds.” He’s been asking that question — to audiences — for his entire career, and to him the answer has always been the same: The darker the better.

Ellise Shafer David Cronenberg’s “The Shrouds,” the horror auteur’s latest film about a widow who invents technology to see inside his late wife’s grave, received a 3.5-minute standing ovation at its Cannes premiere on Monday night. The crowd showed their respect for Cronenberg with the applause, but it was nowhere near rapturous as audience members digested the film, which is a departure from Cronenberg’s usual out-of-the-box body horror. Instead, “The Shrouds” is a thoughtful exploration of grief, and though there are several gross-out moments, the film relies on emotion more than anything.

Have you ever dreamed about being a better version of yourself? With her second film, Coralie Fargeat not only addresses this question but takes aim at ageism and sexism in the entertainment industry with a riotous, dreamlike horror-thriller that ends in a delirious symphony of blood, guts and otherwise undefinable viscera. Imagine David Lynch’s Mulholland Drive fused in a telepod with David Cronenberg’s Dead Ringers, add the unbelievably dynamic pairing of Demi Moore and Margaret Qualley, process it through the ultra-vivid color palette that is Fargeat’s hyper-saturated imagination, sprinkle a bit of J.G. Ballard on top, and you have the perfect breakout genre movie of the year.

Owen Gleiberman Chief Film Critic Shocking and resonant, disarmingly grotesque and weirdly fun, “The Substance” is a feminist body-horror film that should be shown in movie theaters all over the land. By that, I don’t mean that it’s some elegant exercise in egghead darkness like the films of David Cronenberg, or a patchy postmodern punk curio like “Titane.” Coralie Fargeat, the writer-director of “The Substance,” has a voice that’s italicized, in-your-face, garishly accessible and thrillingly extreme.

On Sunday at Cannes, Diane Kruger put her star power behind a worthy cause, attending the ‘Transcending Borders’ gala at the Campari Lounge hosted by Breaking Through the Lens—an organization that works to support female filmmakers.

Ellise Shafer With only her second film, Coralie Fargeat has gone from admiring body horror king David Cronenberg to being in competition with him at this year’s Cannes Film Festival. Fargeat’s “The Substance,” described as a feminist take on the body horror genre and starring Margaret Qualley and Demi Moore, bows at Cannes on Sunday night, the day before Cronenberg’s latest frightful offering, “The Shrouds,” will do the same.

Kevin Costner was honored with France’s Order of Arts and Letter at the Cannes Film Festival on Sunday, ahead of the Out of Competition world premiere of his two-part Western epic Horizon: An American Saga.

Strange but true: after 15 years as an international movie star, propelled to fame in 2004 by Wolfgang Petersen’s historical epic Troy, German-born Diane Kruger won the Best Actress award in Cannes for her first-ever performance in her native language. Fatih Akin’s provocative 2017 drama In the Fade, in which she played a widow consumed by revenge after a terror attack, revealed an unexpectedly tough new side of her glamorous persona.

Alex Ritman Julianne Moore says the film industry has “changed dramatically” since she started out in the early 1990s when it comes to female representation. Speaking as part of Kering’s Women in Motion program at the Cannes Film Festival, the Oscar winner said one of the most noticeable differences is when it comes to career longevity for actresses. “Meryl [Streep] said this too the other day [during the festival’s opening ceremony], this idea that when she was 40, she thought it was all going to be over,” she said.