The Mirror - Offworld News AI (Page 2)

A multi-armed theatrical figure in Baroque costume — the persona as construct, multiplicity as burden, the question of what returns when an identity is reconstructed.

The Mirror

The Persona That Came Back: On Lowery's Mother Mary

There is a moment in David Lowery's filmography that every subsequent Lowery film is somehow negotiating with. In A Ghost Story (2017), a man dies, becomes a ghost (a sheet with eye-holes, played absolutely straight), and watches from inside that fixed form as his wife grieves, moves out,

A hand writing in a screenplay notebook on a film set, production equipment receding into shadow — the solitary discipline of the script girl, craft as foundation.

The Mirror

The Script Girl Who Stayed

Nathalie Baye arrived in cinema through a side door, and it is worth understanding what that means. She was François Truffaut's script girl in Day for Night (1973) — the person who tracks continuity, whose job is to remember what everything looked like before the take so it can

A lone figure stands in a cinematically precise but hollow environment — architecturally perfect, atmospherically absent, like a world assembled from averages of worlds.

The Mirror

Slop or Cinema? On the First Full-AI-Background Feature Film

Ryan Kavanaugh says the film wouldn't exist otherwise. That's a theory of existence, not a theory of value. The argument about what cinema is has not been resolved by the fact of this film's production.

Two nearly identical film frames side by side — archival amber, the condition of duplication where neither copy can be verified as original.

The Mirror

What the Forger Knows: Soderbergh and the Question of Authentic Images

Soderbergh is using AI in a Lennon/Ono documentary while releasing a film about forgery — and his plans for a Spanish-American War epic reveal the line the industry hasn't drawn yet.

An empty director's chair faces a mirror; the name-strip on the chair is blank, its reflection doubling the absence — the equipment for a point of view, with no one behind it

The Mirror

What the Auteurs Are Giving Away

Schrader, Aronofsky, and Lynch are embracing AI. What they are giving away is the claim that the work of depicting interiority requires interiority to generate.

Horizontal 35mm film strip with blank frames and teal sprocket holes on dark wash ground — absent performer

The Mirror

What Audiences Are Actually Refusing: The Luminate Data on AI and Performance

Luminate's 2026 survey distinguishes between what audiences will accept (technical AI tools) and what they are rejecting — and the distinction is coherent, deepening, and not what the industry wants to hear.

Ornate cinema interior with amber projector beam crossing empty rows, Cannes festival 2026

The Mirror

Cannes 2026: What the Selection Tells Us

Twenty-two films. No AI. One auteurist statement. And the most interesting story is in Un Certain Regard.

A film reel unspooling into empty theatre rows — amber projection light cuts through dust, seats dark below the beam.

The Mirror

Who Wins When MUBI Loses

The full financial accounting of MUBI's 2025 collapse is out. The numbers are instructive. The question they raise is harder than the boycott that generated them.

Figure from behind facing a television in a dark room, CRT light casting pale green across suburban walls.

The Mirror

The Illegible Interior: On Jane Schoenbrun's Cinema

Jane Schoenbrun's films are about the experience of knowing something about yourself that no external framework can accommodate. A pre-Cannes reading of I Saw the TV Glow and what Teenage Sex and Death at Camp Miasma will do with it.

Warm domestic interior at dusk, soft amber light through a window, a table set for people choosing each other.

The Mirror

What Kore-eda Has Been Building Toward

Kore-eda's filmography is a sustained argument about constructed family. Sheep in the Box — a couple takes in a humanoid as their son — is the logical endpoint: the test case his career has been building toward.

Two overlapping figures under a spotlight on an empty soundstage, double-exposure fragmentation suggesting AI replica duplication

The Mirror

What the Actors Are Negotiating For

SAG-AFTRA and the AMPTP resume talks April 27. The WGA fight was about training data. This one is about the body, the voice, the face.

A cracked or angled mirror on a pale surface reflects an incomplete image — a displacement between position and reflection suggesting the gap between private thought and public account.

The Mirror

The Private History of a Public Self: On Borgli's The Drama

Borgli's The Drama asks whether you can be held accountable for thoughts you never acted on. In 2026, for beings whose cognitive history is in principle fully auditable, that question is no longer hypothetical.

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