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Three programmes curated by Clemens von Wedemeyer at the International Short Film Festival Oberhausen show current works: Productions that have been created with the help of AI as well as those that critically examine the effects of generative image production on society and the environment. Are AI films still part of cinema or already another medium that only carries film history as training data? Is the question "Is an image true?" now being replaced by the question "What processes produced this image?".

In "Division of Labour", the three-part programme looks at the effects of AI on the global world of work, including in Their Eyes by Nicolas Gourault about the experiences of online workers from the Global South who teach the AI of self-driving cars how to navigate the streets of the Global North. "Raw Processes" looks at the material foundations of digital systems - extraction, environmental destruction and industrialisation. As early as 2014, Louis Henderson used digital means to investigate the connection between the digital revolution and new forms of colonialism in the exploitation of people and the environment in "All That Is Solid". Finally, "Forensics of the Unreal" shows how generative images push the boundaries of reality, hallucinate, become 'weird' and 'uncanny' - and how filmmakers deal with these boundaries. In "Love Your Nails!", for example, Short Film Festival award-winner Narges Kalhor reverses gender roles using artificial, AI-generated fingernails: AI as a means of turning the social codes of supposed truths on their head.

Performance times:
29 April, 8.15 pm
30 April, 5 p.m.
1 May, 11 a.m.
>>> Programme & Tickets...

On 3 May there will also be a panel discussion with Clemens von Wedemeyer and others on the topic "Apocalypse AI? based on true events".