DimitriL wrote: ↑Fri Mar 15, 2024 5:58 pm
I wish people would stop describing this cover as “AI.” This artist plays with the uncanny valley, both with traditional 3D modeling and painting and drawing, often combining the two. I’ve already seen some people saying they’ll never buy Criterion again because they’ve resorted to “AI art” and it’s so dispiriting. It’s fine to say, I don’t like the style, I don’t like what they did, but this is a sophisticated artist who used human-based tools and it’s awful what’s being said out there to diminish a work.
To "play with the uncanny valley" is by definition to court similarities with computer-generated imagery. If you make art that is designed to evoke CGI and possibly AI, then it's inevitable that people might say, as I did, that it has a "creepy AI quality." The question is whether or how it's appropriate to the film or at least speaks to it in some way.
Querelle is obviously a highly stylized movie, but in a very different manner. Tom of Finland is where my mind first went, as a guess at what this art was aiming for, but it doesn't actually look like ToF to me.
Anyway, this is an absolutely stunning and "impossible" film, absolutely sui generis even in Fassbinder's ouevre.