AI rewrites the script for Chinese film industry

BEIJING – Artificial intelligence (AI) is revolutionising the Chinese film industry, reshaping how movies are made from conceptual development to post-production.

One striking example of this transformation is seasoned director Yu Baimei’s short film, which reimagines the legendary figure Zhong Kui in a modern context. A heroic figure from Chinese folklore, Zhong Kui is often depicted as a warrior clad in crimson robes who vanquishes evil spirits.

“I’ve always been drawn to Zhong Kui – humorous, heroic and deeply familiar to us all,” said Yu, 49. “Yet, it felt like he’s never been portrayed on TV or in movies in a way that truly does him justice.”

With the help of AI, Yu created a two-minute short film, Bai Gui Wu Rao (No Disturbance From Ghosts), which connects Zhong Kui’s legend to contemporary life.

In the film, Zhong Kui strides through a shadowy forest, mist curling between ancient trees under a moonlit sky. Wielding a sword, he confronts otherworldly adversaries, including a monstrous rabbit with glowing red eyes. His movements a symphony of power and grace.

The narrative then shifts to a modern bedroom, where a young man snores softly amid flickering phone notifications. The forest battle is revealed to be a dreamscape, with Zhong Kui now embodying the boy’s digital “guardian spirit”.

A playful on-screen message, “On holiday: No disturbance from ghosts”, humorously emphasises the need for personal time in the digital age.

This experimental film, alongside AI-generated shorts from eight other acclaimed directors, debuted in December 2024 as part of the Kling AI Director Co-Creation Project at the China National Film Museum. These works have been inducted into the museum’s permanent collection, marking a ground-breaking moment for Chinese cinema.

Yu’s foray into AI film-making reflects a broader trend of AI’s expansion within the industry. Mr Rao Shuguang, president of the China Film Critics Association, said: “AI now permeates every aspect of film-making, from conceptual development to post-production.”

Celebrated director Zhang Yimou’s ongoing adaptation of The Three-Body Problem, the Hugo Award-winning sci-fi novel, exemplifies this trend. “Beyond refining the script, the first thing I did was to establish an AI team,” said Zhang, 74. “Using new technologies and concepts in the production process is a learning experience for me.”

Major studios are also leveraging AI to push creative boundaries. Bona Film Group’s AI-powered microseries on the Sanxingdui archaeological site allegedly blends science-fiction storytelling with industrial-grade film-making.

Meanwhile, Yangshipin, a video platform under China Media Group, released Chinese Mythology, a fully AI-produced microseries utilising text-to-image, text-to-video, text-to-music and text-to-voice workflows.

While AI enhances efficiency in areas such as visual effects, storyboarding and set design, its role as a creative partner, rather than a replacement for human artistry, remains a point of debate.

French film-maker Luc Besson, 65, speaking at the 2024 Hainan Island International Film Festival, described AI as a “valuable tool”, but noted its limitations.

While AI might draft a sequel to Dogman, he said, it could never create something as original as the 2023 action-thriller hit or the 1988 romance film The Big Blue, because AI relies on existing material.

Chinese film-makers share this nuanced view. Mr Rao said: “Human imagination, creativity and innovation remain irreplaceable by AI.” Still, he emphasised the urgency for film-makers to swiftly and comprehensively learn and adopt evolving AI technologies, as failure to do so could result in being outpaced by more skilled peers.

China’s AI film-making revolution parallels developments in Hollywood.

In 2024, film studio Lionsgate entered into a partnership with AI start-up Runway to develop a generative model trained on its extensive film and TV library. Similarly, Canadian director James Cameron joined the board of Stability AI, signalling growing interest in AI’s creative potential.

Director Chen Xuguang of the Institute of Film, Television and Theatre at Peking University envisions a future where film-making transitions from a resource-heavy industry to a lightweight, AI-enhanced model.

“With the power of AI, a small team – or even an individual – can evolve into a highly efficient and creative production workflow, forming a robust industrial chain,” he said.

The adoption of AI extends far beyond film-making. According to a 2024 report by the China Internet Network Information Center, 230 million Chinese – 16.4 per cent of the population – were using generative AI-powered products by June 2024.

“Sooner or later, AI will fully integrate into every aspect of our lives, becoming a friend to everyone,” said Yu. “The nine directors in this initiative, regardless of the quality of their final works, have set a valuable precedent. Not that film-making in the future should be left to directors alone – but that anyone can create.” XINHUA