Insights from German Films’ 2026 Face To Face Participants on the Future of Cinema Amid AI, YouTube, and Social Media – Watch the Discussion
In the wake of YouTube’s recent revenue announcement, which revealed the platform will generate $60 billion in 2025—outpacing Netflix’s projected $45.1 billion—emerging talents in Germany’s film and television industry shared insights on the rapidly changing landscape influenced by YouTube, artificial intelligence, and social media.
“The whole field is changing so fast,” noted Willenger, whose debut film Hi, AI. Love Stories from the Future received a nomination for a German Film Award. “Now there are a lot of different channels out there, such as YouTube and TikTok. It’s become much easier for anyone to create content, as everyone has a camera in their pocket. This is definitely diversifying the entire field of audiovisual media.”
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Willenger also raised questions about the future of cinema: “How does the whole cinema world orient and position itself into the changing media landscape? How relevant is that art form we were taught at university and film school? How will it survive, inspire people, and bring communities together? It’s something that is really uncertain these days.”
Layla, a star of Elaha who was born and raised in Syria, emphasized the political dimensions of attending the cinema. She highlighted the communal aspect of experiencing films together, stating, “Sometimes it’s more interesting to watch the people watching the movie. I hope that maybe the next generation could be more open to going to the cinema and view it as more than just entertainment.”
The panelists also discussed the implications of AI in creative sectors, stressing the need for regulations. Willenger expressed deep concern about new technologies. “We used to think AI would handle mundane tasks, not creative ones, but it turns out the opposite is true,” she said. “AI is excelling at creativity and will continue to improve. While there are incredible opportunities to collaborate with AI in various aspects, we must consider the lack of regulation.”
Brumm, who starred in Ildikó Enyedi’s Silent Friend, conveyed skepticism regarding AI-generated actors like Tilly Norwood, stating, “I’m not interested in the output of AI art—whether visual arts, music, or acting. What draws me is the human heart, the emotions, and the connections.”
Conversely, Bongard, who premiered her feature debut Babystar at Toronto last year, pointed out the need for quicker decision-making from film financiers. “When you apply with a film project, if they could respond quickly, it would help immensely. People often work for one or two years without knowing if a film will be greenlit, which breeds insecurity, especially among young professionals.”
The conversation surrounding the evolving landscape of cinema continues to develop, reflecting broader societal changes and technological advancements.
