Being the first A. I. movie one has to compare it to the AI-generated class of carnival deepfake and nightmarish shorts that came before-basically this is like Walt Disney compared to Emil Cohl-as well as what it implies about the future of filmmaking-entire films made for nothing by one single creator.
Being stitched together from 4,000 half megabyte 4 second videos generated at random, someone is concerned about the lighting. Everything it does with story, character, environment are just 'events on screen constituting a movie'. It is not just the stupidity of people like this but the sheer arrogance in which they operate. In a sense these trollish remarks underscore the achievement of the film. A. I. Is not aiming to match 'films' as you have come to understand them, but is an expression of an entirely new artform.
The film allows you to peel back the curtain and stare into a totally new world. This is not entirely about a.i. But about our fear of the future; by showing raw machine video we are seeing the terror and beauty at once of an unknown reality in front of us, the birthing pains of a new machine reality. This reflects directly on the story which is plainly Brechtian in its reaching for high theater utilizing new modes of artifice; the stylistic alienation of the uncanny visuals plays into the dissolution of the relationship. The storm, another direct metaphor. The entire world watching Thom from the plane is another tell about a future with no escape. Fourth wall breaking moments turn the glitches into moments on screen. To nitpick the technicals rather than consider them is the lowest hanging fruit, it's like kicking a baby. With everything revolving around cellphones and internet culture, you have one of the first truly 21st century films.
This is the frightening and beautiful thing about art, and "Window Seat" pushes our perception to the very the limit about what is possible, because it is not a mechanical movie at all, it is the most human possible movie.
Being stitched together from 4,000 half megabyte 4 second videos generated at random, someone is concerned about the lighting. Everything it does with story, character, environment are just 'events on screen constituting a movie'. It is not just the stupidity of people like this but the sheer arrogance in which they operate. In a sense these trollish remarks underscore the achievement of the film. A. I. Is not aiming to match 'films' as you have come to understand them, but is an expression of an entirely new artform.
The film allows you to peel back the curtain and stare into a totally new world. This is not entirely about a.i. But about our fear of the future; by showing raw machine video we are seeing the terror and beauty at once of an unknown reality in front of us, the birthing pains of a new machine reality. This reflects directly on the story which is plainly Brechtian in its reaching for high theater utilizing new modes of artifice; the stylistic alienation of the uncanny visuals plays into the dissolution of the relationship. The storm, another direct metaphor. The entire world watching Thom from the plane is another tell about a future with no escape. Fourth wall breaking moments turn the glitches into moments on screen. To nitpick the technicals rather than consider them is the lowest hanging fruit, it's like kicking a baby. With everything revolving around cellphones and internet culture, you have one of the first truly 21st century films.
This is the frightening and beautiful thing about art, and "Window Seat" pushes our perception to the very the limit about what is possible, because it is not a mechanical movie at all, it is the most human possible movie.
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