The other day, I finished the series I was watching and decided to find a new one. I sat on the couch and started checking my subscribed platforms. When I went on Netflix, the platform offered a Top 10 list and personalized recommendations. This experience, familiar to every Netflix user, touches upon a crucial topic: the expanded use of algorithms. The utilization of algorithms has intensified in many aspects of modern life, and this trend is predicted to continue (Raine and Anderson, 2017). Cinema is no exception. Artificial Intelligence (AI) is now used in the production, post-production, marketing, and distribution phases of filmmaking, as well as by movie theaters. These developments have wide-ranging implications, but independent cinema seems particularly vulnerable to these changes.

Streaming service algorithms analyze various aspects of subscriber behavior to determine how they categorize, filter, and display content in a personalized way (Taylor, 2021). On these platforms, the distribution of films and our consumption patterns are largely dictated by algorithms (Pajkovic, 2021). In an article for Harpers, Martin Scorsese (2021) praises Fellini’s work but contrasts it with current trends in cinema. He argues that “the art of cinema is being systematically devalued, sidelined, demeaned, and reduced to its lowest common denominator: ‘content.’” In other words, cinema today often loses its artistic nature and is reduced to a profitable artifact. The content of this “content” is directly tied to the data algorithms gather. Scorsese’s concerns resonate with a broader anxiety that culture is, or will become, increasingly unoriginal (Brown, 2024).

This highlights the “insecure position in which cultural gatekeepers find themselves” (Brown, 2024). Scorsese critiques the lack of curation on some—though not all—platforms. Additionally, there are concerns that critics are losing their importance due to algorithmic curation and the overwhelming flow of information (Rich, 2016). As The Guardian (Syfret 2021) notes in its analysis of Netflix’s Top 10 list in Australia, the platform primarily aims to keep users engaged and spending as much time as possible on the platform. Ultimately, algorithms dictate not only the content we consume but also what gets produced, leaving limited space for artists (Brown, 2024).

Algorithms also play a central role in film marketing. AI revolutionizes this process by offering data-based insights to help studios minimize financial risks. By analyzing factors such as audience demographics, historical box office trends, and social media activity, AI enables studios to predict a film’s potential success, refine release strategies, and create highly targeted marketing campaigns. AI also contributes to trailer development by using audience response data to craft edits tailored to specific groups, thereby increasing a film’s appeal and market reach (Vitrina 2024). For example, Warner Bros. used AI to enhance the marketing strategy for Aquaman, contributing to its impressive box office performance (Sahota, 2024a). Similarly, movie theaters now employ AI to analyze data from audiences and provide personalized recommendations to increase revenue (Sahota, 2024b).

_{Case of Smoke Sauna Sisterhood}

Independent cinema is in a more precarious position. With limited resources, independent filmmakers face numerous obstacles in marketing and distribution compared to studio-backed productions (Kvibe 2024; Timtora n.d.). Consider the case of the Estonian documentary Smoke Sauna Sisterhood. The film, which explores women’s interactions in a sauna, has won several awards—including the Sundance Film Festival 2023 World Cinema Documentary Directing Award and the European Film Awards 2023 Best Documentary Award—and is Estonia’s official submission for the Best International Feature Film category. Despite this success, the film faced significant challenges in marketing and distribution. In a recent interview, Ed Arentz of Greenwich Entertainment, the film’s U.S. distributor, revealed that the trailer was banned by Meta’s algorithm for nudity, leading to lower engagement. For independent filmmakers, escaping such algorithmic limitations is far more challenging than for major studios (Kaufman 2024).

_Conclusion

The situation is troubling. While a complete reversal may be impossible, there are ways to ensure space for high-quality independent cinema. One potential solution involves a return to the traditional gatekeepers of cinema. Scorsese points out that the absence of curation—or the presence of algorithmic curation—is a key part of the problem. As Rich (2016) suggests, critics should remain a central point of reference, as their expertise and knowledge of cinema are vital.

Film festivals can play a significant role in addition to critics. By definition, independent film festivals curate their content, gather knowledgeable individuals to evaluate films, and provide a platform for original works to reach audiences. In the age of algorithms, film festivals have an upgraded role: not only do they entertain cinema lovers, but they also spotlight films that are original and high-quality yet struggle to reach wide audiences due to the dominance of algorithm-driven distribution systems.

Of course, we should not condemn AI as a modern-age devil. Indeed, they set some obstacles to independent cinema. On the other hand, AI and algorithms can be a useful tool. Some platforms offer high-quality movies, and their algorithms recommend top-notch films based on user preferences. Moreover, AI can improve the production process of a movie and result in a better outcome. Ultimately, AI is a tool, and its impact depends on how humans choose to use it.