Movies
Good Deed Entertainment Acquires SXSW Title ‘Don’t Leave Home’
Don’t Leave Home, a horror film written and directed by Michael Tully (Septien) which premiered at SWSW, has been picked up by Good Deed Entertainment for distribution in North American, Deadline reports about the under-the-radar title. Good Deed was the company who also distributed the Oscar-nominated animated film Loving Vincent.
Don’t Leave Home is described as “an atmospheric, unpredictable, psycho-religious horror film” which is about an American artist obsessed with a disturbing Irish urban legend. Obsessed with the origin of the myth, the artist ends up inside the estate of a reclusive painter in Ireland.
The film stars Anna Margaret Hollyman (Sleeping with Other People), Helena Bereen (Hunger), and Lalor Roddy (Grabbers) and is produced by Jeffrey Allard (The Texas Chainsaw Massacre), Walter S. Hall (Entertainment), George M. Rush (Sorry To Bother You), and Ryan Zacarias (A Ciambra).
Movies
‘Backrooms’ Director Kane Parsons Is No Fan of Generative AI: “Defeats the Purpose Entirely for Me”
There has been a lot of talk recently about filmmakers embracing generative AI as part of the filmmaking process, from Darren Aronofsky to Martin Scorsese. But what about filmmakers that are against the use of Gen AI for creative pursuits? You can count 20-year-old Backrooms director Kane Parsons among that group, which should give you some hope for the future.
In a new chat with The Australian, the self-taught young filmmaker makes it crystal clear that he won’t be using generative AI in any of his upcoming filmmaking projects.
“I think I’m in the same boat as most well-adjusted people,” Parsons tells the outlet. “If I could snap my fingers and make generative AI disappear forever, I probably would. Creatively, I get no enjoyment from using those tools. It defeats the purpose entirely for me.”
“What interests me more is interrogating it artistically,” Parsons notes. “We already live in a world where you walk outside and there are billboards and signs that are obvious AI slop. That’s become part of our visual reality. To me, generative AI feels less like innovation than a symptom of a broader cultural and economic rot.”
He explains, “I’m interested in using that iconography in art – not using AI to make the art itself, but examining what it represents. I definitely want to explore it further in future projects.”
Kane Parsons also notes during the interview with The Australian, “… there’s so much at stake and so many genuinely harmful consequences already happening.”
Backrooms marks young prodigy Kane Parsons’ feature directorial debut, and it’s based on his own series of YouTube videos that were brought to life using Blender, the open-source 3D computer graphics software suite. So it’s no surprise that Parsons, who has hand-made his filmmaking career up to this point, isn’t buying into the hoopla around Generative AI.
His debut feature is the #1 movie in the world, so perhaps he’s onto something.
What’s next from Kane Parsons, you ask? Stay tuned…
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