Korean directors bet on AI filmmaking

A sweaty office worker crammed into a packed rush-hour subway car turns into a giant grub, its 180-centimeter (6-foot), milk-white body writhing between passengers across a big screen. The scene is from “Worm Train,” the first AI short film by blockbuster director Kim Sung-soo, inspired by Franz Kafka’s “The Metamorphosis" (1915). 

AI video production, once derided as little more than clicking a “generate” button, is evolving from a novelty for churning out curious clips into genuine filmmaking. Established directors and producers, including Min Kyu-dong, Yeon Sang-ho, Shin Yeon-shick and Lee Myung-se, are moving into AI, and the number of AI feature films is growing.

Kim unveiled part of “Worm Train” at the Asian Contents & Film Market (ACFM) at Bexco in Haeundae District, Busan, on Oct. 11. He predicts that generative AI will go beyond replacing visual effects (VFX) to change the landscape of video production.

“Before, [AI] was at the level of an acting student who acts well, but now it has risen to the skill of a commercial actor who acts well,” Kim said.

Generative video AI models have advanced so rapidly this year that the phrase “Seedance shock” has emerged, after TikTok parent ByteDance’s Seedance video model stunned the industry with its realism. Chinese models appear to be leading the field, including Kuaishou’s Kling 4.0, set for release this month, Alibaba’s Wan 3.0 and Seedance 2.5. The maximum length of a generated clip has grown from under 15 seconds to up to 30 seconds, and the number of references that can be attached to each generation has risen to as many as 50.

Character continuity and cinematic expression, long cited as AI video’s weak points, have also improved in detail. As the visible gap between AI-generated footage and live-action shots narrows, attempts to complete AI films with real performances by star actors are expected to become more common. The industry estimates the technology cuts VFX costs by an average of 40 to 60 percent.

Climax Studio, the production company behind “Hellbound” (2021-24) and “D.P.” (2021-23) announced two AI feature film projects at ACFM: “Wonso” (translated), directed by Ahn Jae-hong, and “Yogoejeon” (translated), directed by Jeong Choong-geun.

“While judging an AI film competition in March this year, I concluded it had reached a commercial level,” said Byun Seung-min, head of Climax Studio. “We are producing AI films by discovering new directors we’ve had our eye on among AI artists [directors] in Korea and abroad.” He added, “We plan to cast well-known actors in the lead roles and other parts with box office performance in mind.”

“Wonso” is a superpower fantasy billed as a Korean “Star Wars” (1977–), while “Yogoejeon” is a period fantasy action film in which Korea’s traditional monsters fight Western vampires with designs on the Joseon dynasty (1392-1910). Both are being considered for release next year.

More AI films are lined up to follow "Steelay" a 100 percent AI-made science fiction feature directed by Seol Woo-in and Lee Han-wook that opens on Wednesday. “Yeto,” a mystery thriller by Yeon Sang-ho that incorporates AI technology and stars Moon Geun-young, Go Ah-sung and Kim Si-a, is in post-production for a release next year. Kang Yun-sung, who released the AI feature “Run to the West” last year, is producing “Gulf of Aden,” an AI action film starring Byun Yo-han.

The Academy Awards and the Cannes Film Festival restrict submissions that use generative AI, but in Korea’s stagnant film market, the technology is widely seen as “an irresistible trend and an opportunity,” in Byun Min-chul's words.

Responding to concerns that AI threatens creators’ place, director Min Kyu-dong said at a Busan International Film Festival forum on Oct. 10, “AI can make the pieces [scenes] well, but arranging the order of the pieces and filling the gaps between them is ‘the domain of directing.’”

Kim Sung-soo stressed the agency of human creators. “Even if the director doesn’t shoot it himself, a Na Hong-jin film is a Na Hong-jin film, and a Bong Joon-ho film is a Bong Joon-ho film,” he said.

“The perception that Korea makes AI films began in 2024, but this year appears to be the first year that AI technology has been effectively integrated into the traditional film production pipeline,” said Kim Yeong-deok, market director of ACFM. “Just as we no longer use terms like CG [computer graphics] film or digital film, the term ‘AI film’ will likely disappear before long.”

BY NA WON-JEONG [[email protected]]