Abstract

Cinema, like other artistic languages, has been impacted by the use of AI in various creative areas. Films such as The Last Screenwriter (Peter Luisi, 2024) I Exist (Diogo Vianna, 2023) and The Brutalist (Brady Corbet, 2024) utilize AI in screenwriting or post-production, using AI as a tool, not as an end, but as a means of the process. In this way, we can point to a transformation of cinematic art, creating new aesthetics, new forms of production, and other narrative forms. According to Lev Manovich (2025), contemporary aesthetics are not only the result of human creativity, but also of the technical structures of software, algorithms, and data that organize digital culture. Therefore, what is the future of cinematic art? What transformations are possible through AI in the language? If, on the one hand, digital technology has altered the logic of the art world, on the other hand, AI can cause great revolutions. However, when cinematic language transforms so much, can we still call it cinema?