Horoma Films

A 15-minute short film, fully generated with AI in @runwayml , by a Cannes and Busan-selected filmmaker. A mother. A storm. A sea that listens. The creative choices, the edit, the tone, the direction of acting and emotion: all human. AI is the tool, not the author. It's already been hugely useful to us for building proofs of concept, unlocking financing, testing a narrative or a visual identity before committing the real budget. We're doing exactly that in Cannes right now. Successfully.

@jforozcop Congrats! Beautifully done.

The making of The Rogue. This project changed me creatively in a lot of ways. Spending years trying to figure out how to tell this story, and finally seeing it come alive the way I always dreamed it, still feels surreal. What I love about this BTS is that it shows how personal the process really was. All the experimenting, the little discoveries, the obsession with performances, camera movement, atmosphere, and emotion. This definitely feels like the beginning of a new chapter for filmmakers around the world searching for ways to finally bring their own stories to life. Extremely proud to be part of this moment and this revolution alongside the entire @runwayml team. Really happy to finally share this part too.

@eliott__mogenet The interesting inversion is that scarcity used to discipline taste. You couldn’t waste the take, the day, the location. Abundance removes that discipline and reveals which filmmakers had internalized it and which were merely subjected to it.

AI didn't make filmmaking easier. It made the easy part free and the hard part obvious. Anyone can generate amazing visuals now. Few can make you feel something. The barrier didn't fall. It moved from budget to taste.

@runwayml Made Ombak entirely with Runway. 15-min proof of concept that just screened privately at Cannes Marché du Film. Financiers impressed, feature is moving forward. None of this would exist without AI. We tried for years.

Introducing Project Luxo: a new initiative exploring how AI-generated video has crossed the uncanny valley. Over the past few weeks, we’ve shared a series of short films with Hollywood executives, producers, directors, writers, actors and reporters. The response has been unanimous: the technology is finally good enough to disappear behind the story. One of those films is The Rogue — a fully AI-generated, ten-minute film that spent over a decade unproduced in the traditional system: too expensive, too difficult, too risky. Created with Runway in under a month by a single person. Learn more about The Rogue and Project Luxo at the link below.

This resonates. Ombak is a 15-min proof of concept made entirely with Runway, directed by a Cannes & Busan-selected filmmaker to raise financing for the feature. Screened privately at Cannes Marché du Film last week, the response mirrored what you’re describing. Financiers came out genuinely impressed, the feature is moving forward. x.com/horomafilms/st…

Please spend 15 minutes watching these films. They will radically change your sense of timelines and your understanding of what is now possible. We have shown these films in private pre screenings to some of the world’s leading producers, directors, actors, writers, press, and creative minds. The consensus was pretty unanimous: AI has crossed a meaningful threshold in both quality and its potential for complex, layered storytelling.

5 to 8 years to assemble a feature budget, when it happens at all. That's the consensus I heard at every film market this year (LA, Berlin, Cannes, Hong Kong). For indie and auteur cinema, what's the point of shooting a script written 8 years ago, for a world that no longer exists? Speaking as a filmmaker selected at Cannes and Busan now turning to AI: it's not replacing the craft. It's what keeps stories alive.

@zhee_explores @nadirmatti 🙏

@HoromaFilms @nadirmatti good Lord! i had goosebump watching this, YOU ARE GOODDDDDDD

Hiring AI filmmakers - paid per video ARQ is an AI film studio working with Hollywood producers, governments, and major brands. Looking for cracked AI filmmakers who can take a script and turn it into a cinematic AI film. Fast. You: - Know Seedance, Runway, Midjourney or similar text-to-video and image-to-video tools - Have AI film work to show - Move fast, think in scenes - Care about craft The work: - Receive a brief from our creative director - Generate, iterate, deliver - $200-2,000 per video depending on complexity - Realistic monthly earnings: $3,000-10,000+ - Remote, freelance, async To apply: - Send me your best AI film nadir@arq.live arq.live Referrals welcome - we pay you $2,000 for the right hire you refer to us

@venturetwins Exciting! Adding one to the pile. A 15-minute AI movie by a filmmaker previously selected at Cannes and Busan: x.com/HoromaFilms/st…

We’ve reached the era of 4 minute AI movies that are watchable. And they don’t look like traditional Hollywood. The production quality isn’t perfect (Dario turns into a generic Chad at points) - but it doesn’t matter. The story is tailor-made to entertain a niche audience.

Nobody on the panel denied that AI is becoming part of the film industry. But they stressed that serious filmmakers who save money with AI often do so by using it to craft more efficient strategies, not replacing human artists with it. indiewire.com/news/events/cl…

@JSFILMZ0412 @dreamina_ai Congrats! 👏

I dropped my first Seedance 2.0 hands-on video back on February 9. Since then, I’ve made 4 short films, tested scenes almost every day, made tutorials, and now I’m working on a 15-minute AI short film with real structure — not just random clips thrown on a timeline. Today I got accepted into Dreamina’s CPP. Not gonna lie, this one feels good. It means a lot to have a company recognize the work I’ve been putting into their community. Next goal: signature partner privileges. #Seedance2 #DreaminaCPP

Meet The 25-Year-Old Vying To Become Hollywood’s First AI Movie Mogul via @forbes forbes.com/sites/mattcrai…

@JSFILMZ0412 Exactly. Flying a crew across continents or running a studio on diesel generators for weeks is obviously not carbon neutral either. The comparison has to be honest on both sides.

People say AI filmmaking is bad for the environment because of compute. Fair. But let’s compare honestly. A small traditional feature averages around 391 metric tons CO₂e. Medium: 769. Large: 1,081. Tentpole films can hit around 2,840–2,996 metric tons CO₂e. That’s before pretending flights, hotels, trucks, diesel generators, sets, catering, and crew transport don’t exist. AI video isn’t impact-free. Data centers use real electricity and water. But acting like traditional filmmaking is automatically “cleaner” because it uses real cameras is not serious.

A YouTuber Turned Tech Exec Is Making a Big Bet On AI-Powered Interactive Entertainment (Exclusive) hollywoodreporter.com/business/digit…

@eliott__mogenet Was at the Cannes premiere last night. The film works precisely because it puts ideas, wit and comic timing above everything else. The deliberately crude animation is part of the joke proving that style should always serve the story, not the other way around.

Everyone thinks AI means a flood of epic movies. It's the exact opposite. When spectacle is free, spectacle is worthless. What wins now: weird, original, handmade, sub-$1M films made by one obsessed person. Best thing to happen to cinema in 30 years.

@starks_arq Awesome! AI isn’t the author. It’s a tool that empowers creators.

the conclusion we both came to in that room is that AI is not replacing the director. it's putting a superpower in his hands. every idea he's had for 35 years that died in a budget meeting can now be a film by the end of the day.

We sat down with a Hollywood executive producer and made an AI short film in under 8 minutes, he was speechless... Here's how we used our speech to film system to make it from a hotel room: 🧵

Impressionnant ! Voici un court métrage entièrement généré par IA, signé par un réalisateur dont le premier long avait été sélectionné à Cannes et Busan. On s'en est servi comme proof of concept pour boucler le financement du long métrage au marché du film de Cannes cette semaine. Fait par une seule personne pour moins de 500 $ : youtu.be/gGYPdCVDw24

Le premier film IA au monde vient d’être présenté à Cannes. Vidéo source Higgsfield ci-dessous. Et le vrai sujet n’est pas le film. C’est la chaîne de production derrière. Hell Grind, produit par Higgsfield : • 95 minutes. • Moins de 500K$ de budget. • 400K$ de compute. • 16 181 générations pour les 253 premiers plans. Soit environ 64 générations pour obtenir 1 plan final. C’est ça, le signal que l’on doit relever. Le cinéma IA n’est pas encore un bouton magique. C’est ce que l’on appelle une machine d’itération : • Tu génères. • Tu jettes. • Tu compares. • Tu corriges. • Tu gardes une cohérence. • Tu choisis. Avant, une grosse partie du budget partait dans le plateau, la logistique, les jours de tournage, les équipes. Maintenant, une partie massive part dans le compute, la direction artistique et la curation. Higgsfield compare ce film à une production traditionnelle qui aurait pu coûter 50M$. Eux annoncent moins de 500K$. Même si le chiffre est à prendre avec prudence, l’ordre de grandeur raconte quelque chose que j’aime particulièrement. La vidéo suit la même trajectoire que le logiciel : • Ce qui demandait une infrastructure lourde devient accessible à des équipes beaucoup plus petites. Mais ça ne supprime pas le métier. Ça le déplace. La compétence rare ne sera pas juste “savoir prompter”. Ce sera savoir piloter une machine créative jusqu’à un résultat cohérent. Sur 30 secondes, beaucoup peuvent tricher. Sur 95 minutes, la vérité sort. Comme disait l’ami Armstrong : un petit pas pour l’homme... un grand pas pour les machines.

10/ TLDR: the loud fight is between people refusing to look and people overselling. The interesting work is happening in between, quietly. That's where the next few years of cinema will actually be shaped.

9/ The most encouraging thing: more calm voices. Filmmakers, producers, tech people who aren't in the pro/anti camp. Just concretely showing how AI lets them create better, create more, work with fewer constraints and more freedom. That conversation is finally starting to exist.

Back from Cannes. Some notes on where the AI / film industry relationship actually stands right now, beyond the headlines.