Ram Gopal Varma calls Seedance 2.0 the “asteroid” set to brutally murder film industry’s “arrogance”: “This is actually the liberation of cinema”

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Filmmaker Ram Gopal Varma has stirred a fresh debate on the future of cinema, calling AI tool “Seedance 2.0” the “murderer of the film industry” while also describing it as a force of liberation. In a post shared on February 25, 2026, Varma argued that advanced AI filmmaking tools could dismantle the traditional structure of the movie business. Referring to blockbuster filmmaker S. S. Rajamouli, he wrote that directors like Rajamouli command massive budgets due to their proven creative vision and track record. However, he questioned how many equally talented storytellers across India never get access to funding or industry networks. According to Varma, tools like Seedance 2.0 have “kicked the gate down and set it on fire,” enabling creators from small towns to generate large-scale, cinematic visuals using descriptive prompts alone. He described it as “true democracy in motion,” suggesting that AI shifts power away from a select few and into the hands of the masses. Varma went furthe...
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‘I want to make movies for my people’: Jane Schoenbrun on making a soon-to-be cult classic

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The writer-director’s film I Saw the TV Glow brings together themes of fandom, pop culture obsession and trans identity

For the writer-director Jane Schoenbrun, making their highly anticipated follow-up to the breakout indie horror We’re All Going to the World’s Fair was a starkly different process. While their debut cost about $100,000 to make and felt like the result of 10 people running wild in the woods somewhere, far off the grid, I Saw the TV Glow was something else entirely: a budget larger than anything they had worked with before, a giant machine where everything had to move in careful synchronization.

“It was so different that it was almost like working in a different medium,” Schoenbrun said. “I really tried to take advantage of that with this film. I tried to make something that could be like almost painted. So many images in this film were so labored over.”

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