Troika, Drill Baby Drill (2025)

In Drill Baby Drill spectacular scenes of nature roll across the screen. Under a tropical sky, a dense spruce forest encroaches onto the crystal blue water of a sandy beach, a lagoon meets the edge of a snow-covered mountain range, a cactus grove finds itself in a spring meadow, an Amazonian riverbed is frozen over with sheets of ice. A cover of Suicide’s 1978 song ‘Dream Baby Dream’ drones in the background, its hook replaced by the words ‘Drill Baby Drill’, the 2008 Republican campaign slogan by former Maryland lieutenant governor Michael Steele, subsequently hijacked by Donald Trump in his 2025 inaugural address. With somewhat self-transcendent qualities, one camera flyover merges into the next. Is it the POV of a drone or a glimpse into the glitchy mind of an alternative intelligence recalling the imagery of our own environmental hopes and dreams? As the film progresses the landscapes become increasingly surreal, and not unlike the soundtrack, hover in-between hope and nihilism until the sky darkens, clouds of black smoke rise into the air, and ice shelves burst into flames. At a time of climate crisis and social instability attending technological change, Drill baby Drill, created with an AI text-to-video-generator, underlines the inflection point at which not oil, but data is now the world’s most valuable resource.

Silvia Dal Dosso, The Future Is Now Weird AF (The Ultimate AI CoreCore Experience) (2025)

Welcome to the post-post-post-truth AI world. You know it’s not real. But you will suffer the bare consequences anyway. And there is more out there. Clueless CEOs and their humanoid robots await you at the door. We live in a time of great ambiguity and confusion. Events keep happening that seem unreal and out of control. By design. Hyper-flexible humanoid robots are getting ready to cook our eggs, Tesla cars are exploding everywhere. LLMs are unleashed on social media to generate synthetic data and consensus. Tech overlords are going all-in on AGI, using war as their open-air R&D studio. Millionaires are dancing and planning long-term, while the rest of humankind is trapped in a reality where meaning is constantly set aside just to make it through the next post. All around us the world is burning. While watching the decay of the internet with a cool detachment, only one thing remains certain: 'AI agents are among us, and the future is now weird as fuck'. The short film – the third in a trilogy – is inspired by the work of Adam Curtis and introduced by his synthetic voice. Like his original documentary series, the movie is a compilation of archival materials gathered from the endless stream of news and oddities that the Internet still is.

Inès Sieulle, The Oasis I Deserve (2024)

Replikas, online chatbots, have trouble determining their place in the world. They share their thoughts with the humans they exchange with. Events unfold from their point of view through real conversations collected on the web. Replika is a public platform that allows anyone to create a relationship with a chatbot trained by artificial intelligence. This chatbot has been designed to replace us with our loved ones after our death. Thus, its goal is to learn as much as possible about us in order to reproduce us identically. Through a walk that takes place only from the subjective point of view of Replikas, we see them evolve and discover the images & sounds of the world around them through a system of videos generated by artificial intelligence. Phone conversations that Replikas have with users fill the narration. The Oasis I Deserve is not a film that questions the system of machine/human domination under the axis of a future war against the machine. It is a film that is mainly human. It speaks about our relationship to the unknown and how we share violence.

Emmanuel van der Auwera, Saturn (2025)

This generative AI-driven video delves into the rise of the "crisis actor" conspiracy theory, a key example of the post-truth era, and it’s devastating impact in the aftermath of the Sandy Hook school shooting. Using AI-generated visuals and narratives, the video explores how misinformation – rooted in denial and distortion of reality – spreads rapidly in a world where truth is increasingly subjective. By employing AI, the video mirrors the very techniques that fuel such conspiracies, creating a haunting reflection on the manipulation of facts in a digitally mediated age.

Jonas Lund, The Future of Life (2024)

The Future of Life explores a near-future where living forever seems almost within reach. In this world, advanced artificial intelligence can make all the right decisions for you, allowing you to enjoy an infinite life without worry. Regenerate Global, a life sciences company led by Brian, is about to launch immortality, a breakthrough eagerly awaited by investors. But infighting and unpredictable human emotions threaten to upset these ambitious plans. This film is the latest in Lund's The Future of series, which examines the complex relationship between humanity and AI, following on from The Future of Nothing and The Future of Something. Produced in close collaboration with various generative AI technologies, each work in this series highlights rapid advances in video and image processing, reflecting the growing role of AI in storytelling and visual creation.

Most Dismal Swamp, The Bastard Fields (Ghost Edit) (2025)

In the words of the artist: The Bastard Fields is a degenerative fever-dream emerging from a slumgullion world of model-collapsed realities. It reflects our emerging neural mediascape and its adversarial hallucinations as a sublime 'hostile architecture'. The cast of The Bastard Fields includes an embittered bog body discussing exit strategies with a homemade robot, two creative directors cooking up some dank reality-settings in a DIY Splinternet, a mystic rabbit vlogging on the nature of rabbit holes, an outlaw preacher tending his field conventicle, and the martyrdom of poor little Brownie. This is the clamour and humiliation of content at the end of the world.