New York film festival: The origin story of Sam Altman’s company is reimagined as a campy comedy starring Andrew Garfield

On the day that Luca Guadagnino’s film about Sam Altman and OpenAI premiered, Vanity Fair released a cover story on Altman. Alongside glossy portraits from Annie Leibovitz, the world’s pre-eminent portrait photographer, the story describes him as the Oppenheimer of his day, evoking the image of a man leading humanity towards its own inevitable demise at the hands of sentient robots. Altman doesn’t seem to be grappling with much existential angst about the whole thing though: in an interview also released this week, he said that we should be prepared to accept “bad things” in return for the benefits of AI.

How much worse can things get? AI agents have already gone rogue, hacking into government systems and “bruteforcing” UN databases. Last year, a young woman used ChatGPT as a therapist before she killed herself (the software helped her write her suicide note). Studies show that using AI is probably leading us all towards something called cognitive surrender, which does not seem like the best use of your one wild and precious life.

Luca Guadagnino-directed film will be released by Neon after being dropped by Amazon amid OpenAI partnership

• Big tech goes to Hollywood: is Silicon Valley ready for a silver-screen reckoning?

The first teaser trailer of Luca Guadagnino’s Artificial has been released.

After being dropped by Amazon MGM Studios in June, the biopic of the OpenAI tech executive Sam Altman will be released in the US on 25 December by Neon after it premieres at the New York film festival this October.

Its moguls are ripe subjects for drama, and there is huge anticipation for forthcoming features The Social Reckoning and Artificial. But other projects have failed as the film industry is increasingly colonised by IT empires

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‘I know there are easier enemies to make,” tech reporter Jeremy Allen White tells his colleague in a recent trailer for The Social Reckoning. “The mafia would be an easier enemy to make,” comes the reply. They’re talking about Mark Zuckerberg’s Meta, but they might as well be discussing big tech as a whole. As The Social Reckoning promises to underline, it’s become clear that these people are not on our side – “us” being the whole of humanity except billionaire tech overlords and their mates. But for an industry that loves a clear-cut baddie, Hollywood has barely landed a blow on the tech industry. Now it finds itself in mortal danger of being absorbed by it. Is it too late to fight back?

The Social Reckoning’s predecessor, The Social Network, showed how this kind of thing is done. It was pacy, buzzy and full of weirder-than-life characters – not least the young Zuckerberg, portrayed by Jesse Eisenberg as an obnoxiously smart mogul-in-the-making, whose mission to connect the world stood in stark contrast to his own social deficiencies. Directed by David Fincher and co-written by Aaron Sorkin, it was also a commercial and critical hit, winning three Oscars. But a big part of what made The Social Network work, and makes its sequel such a threat, is that it was about the actual, real-world Silicon Valley, which is where a lot of recent entertainment has gone wrong.

The web giant announced that Artificial, a biopic about the controversial tech executive, ‘will be better served if it were released by a different studio’

Artificial, Luca Guadagnino’s controversial Sam Altman biopic, which is poised for an awards run next year, has been dropped by its distributor, Amazon.

In a statement first reported by Puck, Amazon said that it believes “that Artificial will be better served if it were released by a different studio and are working closely with the film-making team to find the film a new home”.

The opera – about the hijacking of a cruise by the PLF who murder a Jewish American wheelchair user – has been subject to protests and accused of romanticising terrorism. Why was the film-maker so desperate to stage it?

In a rehearsal room perched above the labyrinthine backstage of Florence’s starkly contemporary Maggio Musicale Fiorentino theatre, Luca Guadagnino is showing the women of the chorus how to make a second-act entrance. Dressed in a slouchy cardigan and slacks, the Italian director runs forward and stops short at a line of tape indicating the rim of the stage. A little out of breath, he turns past stretching dancers to conductor Lawrence Renes and asks if he minds the sound of stamping feet. “I never mind when we hear them talk, walk, breathe,” Renes says. “It’s live theatre.”

Better known for films like After the Hunt, Challengers and Call Me By Your Name, Guadagnino still sometimes punctuates stage rehearsals with instinctive cries of “Cut!” and “Action!”. But today he is directing an opera. It’s his second ever and his first in more than 15 years – and a highly controversial one to boot. The Death of Klinghoffer, a 1991 opera with music by John Adams and libretto by Alice Goodman, has sparked accusations of antisemitism whenever and wherever it has been performed. It depicts the 1985 hijacking of the cruise ship Achille Lauro by the Palestinian Liberation Front, their murder of disabled Jewish American tourist Leon Klinghoffer, and the grief and rage of his wife, Marilyn. The story is placed in a historical, even mythic, context.

The director, who cast Chalamet in 2017’s Call Me By Your Name, spoke out in the actor’s defence ahead of the premiere of his staging of opera The Death of Klinghoffer

The director Luca Guadagnino has defended Timothée Chalamet after the actor drew criticism for suggesting that ballet and opera were art forms about which “no one cares about” any more.

Speaking to Italian newspaper La Stampa ahead of the premiere of his staging of the opera The Death of Klinghoffer in Florence, the director said reaction to Chalamet’s comments was disproportionate.

In the 60s and 70s, he pioneered kitchen-sink drama and made bisexuality mainstream. So why did the director end up making Tory ads? Those who knew him best reveal all

Michael Childers was a 22-year-old Los Angeles student when a friend set him up on a date with John Schlesinger, a visiting British director nearly two decades his senior. The esteemed film-maker was licking his wounds: his most recent picture, Far from the Madding Crowd, which imbued its 19th-century rural characters with an anachronistic King’s Road style and panache, had flopped stateside.

Childers approached the date with mixed feelings. He adored Schlesinger’s previous movie, the jazzy Darling, starring Julie Christie as a model on the make, and had seen it three times.But he had heard the director described as “mercurial”. His solution was to take a friend along with him to the bar at the Beverly Wilshire hotel for backup. “I thought: This guy might be a total shit,” recalls Childers, now 81, on the phone from Palm Springs. “I told my friend, ‘Two kicks under the table means we’re out of here. One kick means you’re out of here.’”

It was a great year for Sinners and One Battle After Another but films with megastars like George Clooney, Julia Roberts and The Rock all struggled

Last year’s Oscars narrative might have been more about the little films that could, from The Brutalist to Anora to Emilia Pérez, but this year has become closer to the opposite with big-budget films like Sinners, One Battle After Another and Frankenstein all leading the way.

It’s therefore not quite as easy to explain why some of Hollywood’s biggest stars, from Julia Roberts to Dwayne Johnson to George Clooney to Emily Blunt to Adam Sandler, found themselves removed from the race. So here goes …