Science fiction has consistently cautioned us for years about the dangers of giving AI control. Yet, we continue to find new applications for AI that offer small advancements while simultaneously creating new problems. The new film, Anima, directed by Brian Tetsuro Ivie, explores a compelling idea: could AI allow us to upload our consciousness to a digital cloud, preserving connections with loved ones even after death?
Paul is fascinated by the potential of AI, but Beck worries that relying on it could diminish the unique qualities of human connection. Having recently starred in Alien: Earth as a character who experiences life in both a child’s and adult’s body, Chandler has been deeply considering what defines humanity – is it simply the physical body, or the sum of one’s experiences?
Speaking to MovieWeb about seeing her own industry embrace AI, Chandler detailed:
As a science fiction fan, seeing how quickly everyone accepted this new technology reminded me of the themes explored in those books – the kind that make you think about what’s coming next. Sci-fi often feels prophetic, and it’s been surprisingly accurate so far. I recently heard someone suggest that this technology represents a new form of media and filmmaking. If used thoughtfully, it could lead to genuinely beautiful and artistic creations. It’s a perspective I hadn’t considered before. Just like the shift from black-and-white to color film, this could open up exciting new possibilities.
She believes the human element is what truly makes art special. AI can create technically perfect work, but it can’t replicate the imperfections, spontaneity, and happy accidents that come from being human – things like stumbling, improvising, or simply making mistakes. She hopes this means humans will always have a place in creating art.
Beck seems particularly concerned about AI keeping people “alive,” considering Chandler’s work involves creating digital copies of herself for films and television. This essentially means different versions of her will exist for hundreds of years. When asked about the connection between these digital copies and the themes in the film Anima, the actor explained:
That’s a great question. Watching ‘Don’t Worry Darling’ made me realize something – since we filmed it so long before its release, it felt like it was about reflecting on the past and all the memories that brings up. People often think movies are made and released immediately, but there’s a time gap where you’re essentially looking back at who you were. It’s strange to consider that people might watch you experience emotions like anger or sadness, and it really forces you to confront yourself. It’s definitely a bit unsettling, but also really fascinating. I think that’s what makes art so powerful – it outlives the person who created it.
The connection between Beck and Paul is central to the success of Anima. Unlike many films, the story draws you in because the characters are strangers to each other – and so are the actors playing them. The audience discovers Beck and Paul at the same time the actors do. To create this sense of unfamiliarity, director Chandler explained that she and Hira deliberately didn’t do a lot of planning or rehearsal before filming began.
We didn’t have much time to prepare, so we decided to meet for the first time on set, right before filming our first scene. That was Takehiro’s idea, and it actually worked really well. It was fun because he was standing a bit apart from me, looking great in his trench coat. I was definitely nervous meeting him because he’s such a talented actor – I just finished watching Shōgun for the second time, and he plays a very intense character. But he turned out to be incredibly kind and calm. He has a really grounding presence that helps me and everyone else on set feel more relaxed and focused.
Akari Alishio
As Chandler and Hira became more comfortable with each other during filming, a similar connection developed between Beck and Paul. Their shared taste in music – and what they disagreed on – helped them bond. A pivotal scene shows them connecting through a song in a way they hadn’t been able to with conversation. Chandler explained this scene was particularly meaningful to her and a major reason she decided to participate in the film. She shared:
That scene was the moment I knew I had to be part of this film. Takehiro had been practicing the song, but neither of us had ever played it together. We filmed it only a couple of times – first focusing on him, then on me, and finally a wider shot. It was a really special experience. The way Takehiro performed, with a perfect blend of nerves and genuine emotion, felt deeply connected to both his character and himself, and it beautifully captured the heart of the story. It was a truly wonderful day.
Despite working with famous actors like Florence Pugh, Harry Styles, and Olivia Wilde on Don’t Worry Darling, and appearing in the large-scale sci-fi film Alien: Earth, the actor finds that it’s the personal connections made during those experiences that she’ll remember most as she continues her career.
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I’d never worked on an independent film before, and it was a really straightforward, hands-on experience. The crew was young and many people were doing things for the first time, which was new for me, and I loved it. We were constantly moving, filming in different locations, and adapting as we went. It was a lot different than working on bigger films like Alien or Don’t Worry Darling. It was just a really enjoyable experience.
Anima premieres at the South by Southwest Film Festival on March 12.
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2026-03-12 23:50