AI movies make leap from short clips to big screen

Generative AI is moving from short online videos into feature-length films, prompting debate over how filmmakers should use the technology and protect creators’ rights. The fully AI-generated science-fiction film Raphael will open in local theaters on Nov. 25, following the release of Steelay last month. Raphael’s 138-minute production required 14 months of editing to keep characters’ appearances and movements consistent. Filmmakers Yeon Sang-ho and Jia Zhangke said AI offers creative possibilities but stressed the importance of human qualities in cinema.

Raphael follows Alexey, an android weapon modeled on a dictator who discovers his humanity after meeting an unregistered child and the last human bride.

Raphael was co-directed by Yang Ik-june, Moon Shin-woo and Jung Joo-won, and produced by Mateo AI Studio and MBC C&I AI Content Lab.

Steelay is a 90-minute action film made with generated visuals and no live actors or physical sets.

Yeon Sang-ho created the four-part AI spin-off series Paradise Lost Universe in two weeks after delaying the project over quality concerns.

At the 30th Bucheon International Fantastic Film Festival in July, organizers expanded the competition to include feature-length AI works and held industry summits on creative standards.

Published Nov 5, 2026 7:00 am KST

A scene from upcoming movie “Raphael” / Courtesy of 300 & Co.

Artificial intelligence (AI) technology is expanding its reach from short online videos to feature-length films as another fully generated movie heads to local theaters.

The shift comes as industry experts say that cinema is entering a transition period where AI tools are rapidly pushing moviemakers to figure out how and where to use the technology. At the same time, growing fears over creator rights have sparked heated debate across the industry.

Previous AI releases have also shown that technical novelty on its own does not translate into box office success.

"Raphael," a science fiction movie created entirely using generative AI, will open on Nov. 25. Set in a post-apocalyptic future, the movie follows Alexey, an android weapon built in the image of a dictator, who discovers his humanity after meeting an unregistered child and the last human bride.

Co-directed by Yang Ik-june, Moon Shin-woo and Jung Joo-won, the movie is produced by Mateo AI Studio and MBC C&I AI Content Lab. The team used generative AI to build characters and backgrounds and create massive war scenes without traditional live-action filming. The 138-minute movie required 14 months of editing to maintain consistent appearances and natural movements for the characters.

"Raphael" was the opening film at the 2nd Busan International AI Film Festival last year and was featured at the Cannes Film Market in May.

Its upcoming release comes shortly after another AI-generated feature, "Steelay," opened in theaters last month. Directed by Seol Woo-in, the 90-minute action film also relied entirely on generated visuals without live actors or physical sets.

'Steelay' opens new era for AI feature films

Renowned filmmaker Yeon Sang-ho also experimented with the technology, releasing a short four-part spin-off series titled "Paradise Lost Universe" created entirely with generative AI in two weeks.

Yeon said during an interview in Seoul, Oct. 14, that he had wanted to create spin-off content since his hit film "Train to Busan," but delayed it due to quality issues — until AI made it possible.

"The quality is surprisingly decent and the AI characters act quite well," Yeon said. "However, it will not be easy for AI to replace real actors."

A scene from "Paradise Lost Universe," a short film created using generative AI by director Yeon Sang-ho / Captured from CJ ENM Movie’s YouTube channel

He added that cinema relies heavily on the unique aura of human performers rather than pure realism.

"The movie industry is a strange business," Yeon said. "People inject massive capital to make films look real, but they use famous actors everyone knows. Viewers do not want pure reality, but rather a convincing illusion. AI is the sum of common patterns, so it cannot capture unique individuality."

The rapid rise of AI in cinema has driven major events to address the technology. At the 30th Bucheon International Fantastic Film Festival in July, organizers expanded their competition category to include feature-length AI works and hosted industry summits to discuss creative standards.

Renowned Chinese director Jia Zhangke emphasized the need to embrace the new technology during a seminar at the Busan International Film Festival last month. He said he has directed three AI short films over the past two years to understand its potential.

"When optics and chemistry advanced 130 years ago, cinema was born," Jia said. "We cannot block the arrival of AI, and it is more important to make one or two films ourselves to understand it rather than engaging in emotional debates."

He noted that AI can help filmmakers create unique visual worlds that go beyond human imagination.

"AI can give shape to things that exist in different dimensions and create worlds that cannot be captured by live-action filming," Jia said. "Human emotion and consciousness must blend into the creative process, and we need to think carefully about where humans stand alongside AI."

生成式人工智能正从短视频走向长篇电影，引发了关于电影制作人应如何使用这项技术以及如何保护创作者权益的讨论。完全由人工智能生成的科幻电影《拉斐尔》将于11月25日在当地影院上映，此前，人工智能电影《史提利》已于上月上映。《拉斐尔》片长138分钟，制作耗时14个月进行剪辑，以确保角色的外貌和动作保持一致。导演延尚昊和贾樟柯表示，人工智能提供了无限的创作可能，但也强调了电影中人性特质的重要性。

拉斐尔跟随阿列克谢，一个以独裁者为原型设计的机器人武器，在遇到一个未登记的孩子和最后一个人类新娘后，发现了自己的人性。

《拉斐尔》由杨益俊、文信宇和郑周元联合执导，Mateo AI Studio 和 MBC C&I AI 内容实验室制作。

《钢铁侠》是一部90分钟的动作电影，采用电脑生成的视觉效果，没有真人演员或实体布景。

延尚昊因质量问题推迟了该项目，但最终在两周内完成了四集人工智能衍生剧《失乐园宇宙》。

在7月举行的第30届富川国际奇幻电影节上，主办方扩大了竞赛范围，将人工智能长片作品纳入其中，并举办了关于创意标准的行业峰会。

发布于2026年11月5日 上午7:00（韩国标准时间）

即将上映的电影《拉斐尔》中的一个场景 / 图片由 300 & Co. 提供。

人工智能 (AI) 技术正将其应用范围从短视频扩展到故事片，又一部完全由人工智能生成的电影即将登陆当地影院。

这一转变正值业内专家指出电影行业正步入转型期之际，人工智能工具的快速发展正迫使电影制作人探索如何以及在何处运用这项技术。与此同时，人们对创作者权益日益增长的担忧也引发了业内激烈的争论。

以往的人工智能电影也表明，单凭技术创新本身并不能转化为票房成功。

完全由生成式人工智能创作的科幻电影《拉斐尔》将于 11 月 25 日上映。这部电影设定在后末日时代，讲述了仿照独裁者形象制造的机器人武器阿列克谢，在遇到一个未登记的孩子和最后一位人类新娘后，发现了自己的人性。

该片由杨益俊、文信宇和郑周元联合执导，Mateo AI Studio 和 MBC C&I AI 内容实验室联合制作。团队运用生成式人工智能技术构建角色和背景，并打造出宏大的战争场面，完全摒弃了传统的实景拍摄。这部时长 138 分钟的电影耗时 14 个月进行剪辑，以确保角色形象的一致性和动作的自然流畅。

《拉斐尔》是去年第二届釜山国际人工智能电影节的开幕影片，并于今年五月在戛纳电影市场展出。

这部即将上映的影片紧随另一部人工智能生成的电影《钢铁侠》（Steelay）之后，后者于上个月在影院上映。这部由薛宇仁执导的90分钟动作片也完全依靠人工智能生成的视觉效果，没有真人演员或实体布景。

《斯蒂利》开启了人工智能电影的新时代

著名电影导演延尚昊也尝试了这项技术，在两周内发布了一部名为《失乐园宇宙》的四集衍生短片，该片完全由生成式人工智能创作而成。

延尚昊在 10 月 14 日于首尔接受采访时表示，自从他的热门电影《釜山行》上映以来，他就一直想创作衍生作品，但由于质量问题而推迟——直到人工智能使之成为可能。

“质量出乎意料地好，AI角色演技也相当不错，”延尚昊说。“但是，AI想要取代真人演员并不容易。”

这是由延尚昊导演运用生成式人工智能技术创作的短片《失乐园宇宙》中的一个场景 / 截图来自 CJ ENM Movie 的 YouTube 频道

他还补充说，电影很大程度上依赖于演员独特的个人魅力，而不是纯粹的现实主义。

“电影行业是个很奇怪的行业，”延尚昊说。“人们投入巨资让电影看起来逼真，但他们用的都是人尽皆知的明星。观众想要的不是纯粹的现实，而是令人信服的幻象。人工智能是常见模式的总和，所以它无法捕捉独特的个性。”

人工智能在电影领域的迅速崛起促使各大电影节纷纷聚焦这项技术。在7月举行的第30届富川国际奇幻电影节上，主办方扩大了竞赛单元，将人工智能题材的长篇作品纳入其中，并举办了行业峰会，探讨创作标准。

中国著名导演贾樟柯上个月在釜山国际电影节的一个研讨会上强调了拥抱新技术的重要性。他表示，过去两年里，他执导了三部人工智能短片，以了解其潜力。

贾樟柯说：“130年前，光学和化学发展，电影应运而生。我们无法阻止人工智能的到来，与其参与情绪化的争论，不如自己拍一两部电影来了解它，这才是更重要的。”

他指出，人工智能可以帮助电影制作人创造出超越人类想象的独特视觉世界。

贾晓明表示：“人工智能可以赋予存在于不同维度的事物以形态，创造出实景拍摄无法捕捉的世界。人类的情感和意识必须融入创作过程，我们需要认真思考人类在人工智能面前的地位。”