Asian Directors Unveil Kling AI Productions at BIFF — SkimNews
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- Sung-Soo Kim screened his Kafka-inspired short "Worm Train" at ACFM during the 31st Busan International Film Festival; he started production in February, halted in March because earlier AI couldn't render his subway scene's collision chain, and resumed only in late September when Kling 4.0 enabled continuous motion between frames.
- Sang Wook Lee, now leading MBC C&I's AI section, unveiled "Rendering Love," a Kling AI-powered microdrama co-developed with Barunson E&A — the production company behind Oscar-winning "Parasite" — using live action for real-world scenes and AI generation for the virtual idol group LEVRIT's stage performances.
- Harry Hyun, director of Netflix Korean hit "Crypton Man" and founder of MooAm, introduced "Natasha," a 100-minute period romance thriller that uses Kling tools including 10-bit HDR output and up to 10 keyframes as control points to generate a 1944 snowstorm setting and large crowd scenes alongside live-action character work.
- Wei Li, a Chinese director with credits including "Big Fish & Begonia" and "Jiang Ziya: Legend of Deification," used Kling's native 4K video generation for "Born of the Tides," a 105-minute animated feature with more than 2,350 shots and 200 characters — making previously impossible wide-shot sequences viable for big-screen presentation.
- Across the two-hour panel, the four filmmakers converged on a single framing: AI is increasingly "directable," with Sung-Soo Kim closing by noting that "one day, the term 'AI film' itself may fade," the way "talkies" or "color movies" became obsolete labels.
Why it matters: Four established Asian filmmakers at BIFF — including the director of Korean hit "12.12: The Day" and the maker of Netflix's "Crypton Man" — credited specific Kling AI 4.0 capabilities with unlocking shots they previously couldn't produce: a giant insect's collision chain in a subway car, a 1944 snowstorm, and 2,350 wide-shot sequences where faces would lose definition. Their consensus frames AI as now embedded in conventional filmmaking, not experimental.
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