[The Second Take] The Path Ahead for AI Video as Revealed by the Failure of "Jungang-Gye"

The Immaturity of AI Films Is Not a Failure, but Growing Pains
AI Video Needs to Build Its Foundation on New Platforms Like Short-Form Content

Movie 'Jungangye' Still Cut

After watching the artificial intelligence (AI) film "Jungang-Gye," which was released on October 15, the conclusion becomes clear: AI video technology has not yet reached the standards required for theatrical films. Technical achievements and novel attempts alone are not enough to fill the screen.

The film unfolds with the premise that people who died in traffic accidents reside in the "Jungang-Gye" (the in-between world). It looks like downtown Seoul, but it is a world cut off from the living, where a chase ensues with grim reapers bearing the faces of the twelve zodiac animals. In terms of concept, there was plenty of material to create genre-driven entertainment. However, the "Jungang-Gye" depicted on screen felt less like another world and more like a version of downtown Seoul devoid of people.

In front of Jogyesa Temple, the Four Heavenly Kings statues move, and at Gwanghwamun, the Haechi statue fights with the grim reapers. It is difficult to expect any sense of awe, tension, or aesthetic imagination. The characters' movements are stiff, and the visuals flicker with pixel noise. The setting is grand, but the execution fails to keep up. It is not qualitatively much different from the AI videos commonly seen in short-form content on social networking services (SNS).

The narrative also fails to be driven by the characters' actions. Instead, it remains at the level of connecting scenes created by AI. The lack of emotional engagement makes it feel more like a technology demonstration than a film.

This is not a failure of AI video technology itself. Rather, it is the "chasm" that must be crossed before moving to the mainstream stage. New technologies always face obstacles when they attempt to imitate existing forms. Just as early films directly replicated theatrical stages, "Jungang-Gye" hit its limits by mimicking the appearance of live-action movies.

Movie still cut from "Jungang-Gye"

Innovative technologies have rarely succeeded by simply replacing existing platforms. Instead, new genres emerge only when they meet new formats and platforms. This is where the potential of AI video becomes apparent. Its place to shine is not in theaters, but online, where various experiments are possible. Short-form videos, web series, and educational or interactive content align perfectly with the attributes of AI.

Short, light, and experimental formats prioritize ideas and imagination over subtle realism. Audiences are willing to accept their imperfections. The rapid generation, low production costs, and abundance of attempts enabled by AI allow for the actual marketability and user experience to be tested within these types of content.

The government needs to pay close attention to this point. Showcasing projects such as "AI feature film production" actually narrow the potential of the technology. It is more urgent to create an environment where AI can take root. When platforms, pilot projects, and experiments accumulate, both technology and its applications can grow together.

This is why "Jungang-Gye" is an important failure. It clearly demonstrated where technology does not work and what fails to persuade audiences. Innovation is always completed after passing through such valleys. The fact that AI has not replaced theaters is not a defeat, but rather a sign that the path ahead for the technology has become clear.

When the grammar suited to AI video, market validation online, and structures for collaboration between humans and technology are all in place, "AI video" will finally move beyond mere imitation and become a genre of its own.