Artificial intelligence has now stepped into the director’s chair. Italian film producer Andrea Iervolino, known for working on Ferrari and To the Bone, has created what he calls the first AI-directed feature film, The Sweet Idleness.
Scheduled for release in February 2026, the movie imagines a world where only one percent of humanity still works while the rest live in blissful leisure dependent on machines.
The project’s AI “director,” named FellinAI, is a programmed system designed to mimic the poetic style of legendary Italian filmmaker Federico Fellini. According to Iervolino, FellinAI was not built to replace traditional filmmakers but to experiment with a new method of storytelling.
During production, Iervolino acted as a “human-in-the-loop,” overseeing creative decisions to ensure that the technology’s artistic choices remained coherent and meaningful.
This unusual production method coincides with a growing conversation about artificial intelligence’s rapid entry into creative industries. Just weeks earlier, Hollywood buzzed over news of Tilly Norwood, an AI-generated actress created with virtual likenesses who might soon sign with a real talent agency.
The appearance of both an AI actor and now an AI director has sparked strong reactions from actors, directors, and unions across the entertainment world.
While Iervolino frames the film as a positive experiment in co-creation, others see it as a troubling sign of what could come next.
Hollywood Divided: Praise, Fear, and Outrage
The announcement of The Sweet Idleness has arrived at a time when Hollywood remains wary of artificial intelligence’s influence. During the 2023–2024 union negotiations, AI was one of the central points of debate between major guilds and the big studios.
Both the Directors’ Guild of America (DGA) and SAG-AFTRA included clauses meant to protect human labor, fearing that production companies might leverage generative AI to cut costs or sidestep creative talent.
When news of the AI-driven film broke, several industry figures expressed renewed anxiety. Many see it as a direct test of those protections.
While no leading director has yet commented publicly on FellinAI, DGA’s National Executive Director Russ Hollander reiterated earlier this year that the union’s members “want to ensure AI complements their work, not replaces it.”
The DGA’s current agreement forbids the use of generative AI to substitute human direction or artistic responsibility, but that contract expires in 2026, the same year FellinAI’s film premieres.
The timing has not gone unnoticed. Christopher Nolan, recently elected as DGA president, will potentially oversee negotiations regarding new AI guidelines when the contract renewal begins.
Nolan, known for his deep respect for traditional film techniques, has long expressed skepticism toward automation in creative fields. Many expect him to lead a strong push against any trend that dilutes human craft.
The Sweet Idleness (Credit: Andrea Iervolino Company AI)
SAG-AFTRA’s response has been even sharper. The union condemned the recent introduction of Tilly Norwood, the AI actress, as an “immediate threat” to professional performers.
Justine Bateman, who participated in crafting the union’s 2023 AI agreements, criticized the current protective measures, saying studios can still employ synthetic actors by simply notifying SAG-AFTRA rather than seeking explicit member approval.
In this tense environment, The Sweet Idleness serves as a flashpoint. By positioning FellinAI not as a replacement but as a collaborator, Iervolino places himself in the heart of Hollywood’s biggest debate: can authenticity and automation coexist in art?
Andrea Iervolino’s Experiment: Between Innovation and Risk
For Andrea Iervolino, The Sweet Idleness represents a personal gamble. As the founder of the company Actor+, which develops digital performers based on real people’s likenesses, he has already invested heavily in virtual production. Yet this marks the first time his venture fully integrates AI as a creative decision-maker.
According to Iervolino, FellinAI was trained on decades of European cinematic imagery, with emphasis on the surreal and dreamlike atmosphere characteristic of mid-century Italian masters.
He describes the AI as “a tool to revive poetic storytelling” rather than mechanize it. His approach essentially asks AI to act not as a scriptwriter or renderer but as an autonomous artist capable of visualizing emotional tone, pacing, and frame composition.
Despite reassurance that humans still steer the final process, many question what authorship truly means under such conditions.
If a program directs camera movement, selects lighting patterns, and influences narrative rhythm, then how much artistic credit belongs to its human supervisor? For creative unions, this uncertainty threatens core definitions of creative ownership and labor rights.
Iervolino argues that The Sweet Idleness was guided by strict ethical oversight to prevent AI misuse. He explains that every decision went through a human review process and that FellinAI’s functioning was monitored through transparent data logs. The intent, he says, is to “extend creativity, not diminish it.”
Still, skepticism dominates industry circles. Critics worry that even a supervised success could motivate studios to invest further in AI-directed projects, reducing budgets for human-led productions. Others see the film as inevitable, not a threat, but a preview of cinema’s next evolutionary phase.
The Broader Cultural Impact
Beyond studio politics, what makes this moment historic is its cultural symbolism. Cinema, long considered the most human of storytelling forms, now confronts the question of consciousness not within its narratives but behind its lens.
Since its invention, filmmaking has balanced art and technology. From sound to CGI, every leap forward has triggered creative anxiety before becoming indispensable.
Yet artificial intelligence feels different, less like a new tool and more like a new participant. Technology that interprets emotion, composes shots, and defines aesthetic tone blurs the distinction between maker and made.
Many artists argue that human emotion, lived experience, and intuition remain irreplaceable ingredients of storytelling. Others counter that AI could democratize filmmaking, allowing smaller creators to realize ambitious visions without studio resources.
The Sweet Idleness stands right in the middle of that philosophical divide a film both futuristic and reflective, as its narrative about an idle, machine-run society mirrors the creative reality of its own production.
If successful, its release may alter the hierarchy of creative work forever. Viewers will compare not just performances and story, but the essence of authorship itself. Can a machine truly make art that feels alive? Or is it merely reflecting what humanity already taught it to dream?
The Future of Art in the Machine Age
As The Sweet Idleness approaches its 2026 release, anticipation and apprehension continue to grow. The film may mark a turning point similar to when CGI revolutionized visual storytelling, or it might become an ethical case study on how far creative industries are willing to integrate automation.
Whether audiences accept FellinAI as a legitimate director or dismiss it as a marketing gimmick, the implications are lasting. Upcoming negotiations between DGA, SAG-AFTRA, the WGA, and AMPTP will likely reference the film as evidence either of innovation or intrusion.
In an entertainment industry already defined by streaming wars, digital doubles, and virtual production, this experiment pushes the boundaries of authorship to their limits.
Andrea Iervolino’s statement that “FellinAI is not intended to replace traditional cinema” reflects both caution and ambition. It acknowledges that cinema’s identity rests on human imagination while admitting that machines now play an active role in shaping it.
One thing is clear: The Sweet Idleness is not just another movie. It’s a test of whether art directed by algorithms can stir the human heart and whether Hollywood is ready for a future where the director might be software.
The DC Universe is rapidly evolving under the leadership of James Gunn and Peter Safran. Since taking charge of DC Studios in late 2022, the duo has worked to build a cohesive cinematic and television universe that properly connects characters and stories for the first time since the DCEU began.
This new continuity, formally titled Chapter 1: Gods and Monsters, launched with Superman, and now Gunn has teased more projects that are nearly ready to move forward.
Speaking with GQ, Gunn explained that several new movies and one series are currently in advanced stages of development. While none have officially been greenlit, studio executives are reportedly enthusiastic about their progress.
Gunn mentioned “two really cool scripts” for upcoming DCU films and one television project whose delay is purely due to budget discussions.
The director of Guardians of the Galaxy and The Suicide Squad also noted he’s now fully focused on pre-production for Superman: Man of Tomorrow, the cornerstone of his new cinematic universe. Production begins this April, making it one of DC Studios’ most ambitious relaunches since its restructuring.
For fans who once endured years of uneven continuity and canceled plans under the DCEU banner, Gunn’s commitment to careful scripting and long-term story cohesion comes as a relief.
He and Safran have repeatedly emphasized that no project enters production until its script meets both narrative and tonal consistency standards.
This meticulous approach ensures that Chapter 1: Gods and Monsters builds a connected universe with clear direction, something that has eluded DC for nearly a decade.
What’s Next for the DCU
So far, DC Studios’ announced lineup includes several major films and series. Among them are Superman: Man of Tomorrow, Supergirl: Woman of Tomorrow, Lanterns, Paradise Lost, and The Brave and The Bold, which will introduce the DCU’s version of Batman and Robin.
Potential New Films
Speculation about the two “really cool” movie scripts centers on possible revivals and fresh additions. One might be The Brave and The Bold, especially given Gunn’s emphasis on family-centered heroes.
However, several insiders suspect that Clayface, a lesser-known villain whose development was teased in 2024, could lead one of the projects.
Another strong possibility involves the rebooted Wonder Woman. Since the 2023 announcement only referenced a prequel TV series titled Paradise Lost, fans have been waiting for news of Diana Prince’s return to the big screen under a new creative vision. A fresh script for a standalone Wonder Woman movie could easily be among those Gunn referenced.
Meanwhile, Supergirl: Woman of Tomorrow remains on track for its June 2026 release. Based on Tom King’s acclaimed comic storyline, it will introduce a more grounded and mature version of Kara Zor-El, further expanding the Kryptonian mythology alongside Man of Tomorrow.
The Mystery Series
Gunn also revealed that one television project is close to approval, but is held up by financial logistics. While he didn’t name it, much speculation points toward The Authority or Booster Gold, both previously listed as part of Chapter 1’s long-term planning.
Another candidate could be a continuation of Creature Commandos, the animated show expected to connect directly to live-action DCU storytelling. Gunn has often praised what the animation team achieved, and expanding its serialized format to include crossover storylines seems likely.
Given Gunn’s proven skill in merging humor, heart, and action, whichever show receives the go-ahead will likely become an essential bridge between movie releases.
Superman Takes Center Stage
The movie serves as the tonal foundation for the entire DC Universe, grounded in optimism, moral conviction, and human empathy, distinguishing it from the darker DCEU approach.
James Gunn (Credit: BBC)
David Corenswet stars as Clark Kent, while Rachel Brosnahan portrays Lois Lane. Gunn has promised a balance of classic heroism and modern authenticity. “Superman,” he said in earlier discussions, “is the moral center of our universe.”
How this version of the character shapes the future DCU will be crucial. From thematic consistency to cameo set-ups, Man of Tomorrow must succeed both critically and commercially if DC Studios hopes to maintain its long-form vision.
Currently, Gunn’s team is also overseeing Lanterns, the highly anticipated HBO show following Hal Jordan and John Stewart. Set for release next year, it is developed as a detective-style story that introduces key cosmic elements of the universe.
Alongside Supergirl, which arrives in mid-2026, the trajectory appears designed to balance galactic-scale adventure with grounded storytelling.
The Future of “Gods and Monsters”
When James Gunn first announced Chapter 1: Gods and Monsters in early 2023, he clarified it represented only part of DC Studios’ full vision. The strategy involves long-term worldbuilding akin to the early phases of the Marvel Cinematic Universe, with interconnected projects complementing standalone properties.
This approach marks a deliberate shift away from the DCEU’s loosely tied releases. Gunn’s method resembles serialized storytelling, where television and film coalesce to create a consistently evolving continuity rather than competing sub-franchises.
Since Peacemaker season 2 is currently wrapping with only two episodes left to air, the series remains the most immediate part of this connected slate. Gunn continues to write and direct several key episodes himself, ensuring its humor and tone match his larger DCU narrative.
As of now, Lanterns and the Supergirl movie are next in the queue, with The Brave and The Bold and Swamp Thing following later. However, Gunn’s new remarks suggest multiple unannounced titles have entered serious planning stages, potentially doubling the number of DCU stories revealed in 2023.
A Promising New Era for DC Studios
After years of inconsistent storytelling and unfinished crossovers, DC Studios is finally finding stability. Fans who had grown wary of abrupt cancellations and creative clashes are once again hopeful.
Gunn’s transparency about progress and process has helped rebuild trust, something Warner Bros. desperately needed after past missteps.
This consistency is also paying off commercially. The success of Superman sparked new investor confidence, reenergizing DC’s ecosystem on both film and streaming platforms.
The studio’s collaboration with HBO on serialized content ensures a steady release rhythm designed to maintain fan engagement year-round rather than in bursts tied solely to major blockbusters.
Gunn’s stance that “no project is greenlit until the script is perfect” speaks volumes about his vision. By refusing to rush development, he’s cultivating creative longevity rather than fast revenue. It’s a philosophy that could define DC Studios’ future and finally set it apart from its predecessors’ turbulent reputation.
As Man of Tomorrow approaches production, the excitement surrounding the DCU’s new phase continues to build.
Whether the two mystery films or the nearly approved series make headlines next, one thing is certain: Gunn’s unified DC Universe is growing faster than expected with the potential to become the superhero franchise fans have been waiting for, finally.
