Filmmaking in the age of AI: Paul Lasisi urges depth over speed

There is growing optimism about the future of filmmaking, driven by artificial intelligence, digital tools, and unprecedented access to global audiences. Yet beneath that excitement lies a question that is rarely asked: is the industry truly progressing, or simply moving faster?

Filmmaker Paul Lasisi believes it is the latter.

“Everybody is talking about how fast things are becoming,” he said. “AI, new tools, simplified production. But no one is truly wondering if faster is better.”

His position comes at a time when technology is rapidly reshaping the creative process. Artificial intelligence now plays a role in how films are conceived, shot, and edited—developments many in the industry consider progress.

Lasisi does not dispute that. But he remains cautious.

“The tools are improving, yes,” he said. “But the responsibility hasn’t changed. If anything, it has become heavier.”

That sense of responsibility is evident in his work. Trained in International Relations at Obafemi Awolowo University and later at the EbonyLife Creative Academy, Lasisi combines analytical thinking with creative expression. His early exposure to structured production environments, including work with EbonyLife Studios and Kunle Afolayan Productions, helped shape his technical foundation.

However, it is his independent projects that define his voice.

Films such as The Eventide, Recompense, and more recently Love Lost lean away from spectacle, focusing instead on human behaviour and emotional nuance.

“My interest has always been behavior,” he explained. “Not just events, but what those events reveal about people.”

This perspective informs what he describes as Afrocentric Neo-Realism—a style that prioritises authenticity over visual excess. Real locations, natural lighting, and emotionally grounded performances are not just aesthetic choices but reflections of a broader philosophy.

“I don’t like to over complicate things visually,” he said. “Life is complex enough. The idea is to be as honest as possible.”

That approach stands out in an industry increasingly defined by visual polish and digital enhancement. At the same time, it aligns with a growing global awareness among audiences.

“There’s a difference between something looking real and something feeling real,” Lasisi said. “People are starting to notice that difference.”

This distinction is central to Love Lost, his latest project. Inspired by a true story that sparked public outrage, the film shifts focus away from the event itself to the reactions that followed.

“What interested me was the reaction,” he said. “How quickly people formed conclusions without context.”

In an era where information spreads rapidly, Lasisi sees both opportunity and risk.

“People are exposed to more stories than ever before,” he noted. “But they are also processing them much faster. Sometimes too fast.”

Rather than compete with that speed, he deliberately resists it.

“I think film should slow you down a bit,” he said. “It should make you sit with something, even if it’s uncomfortable.”

His storytelling reflects that restraint. There is less emphasis on quick resolution and more space for ambiguity, allowing audiences to engage and interpret meaning on their own terms.

“You don’t always have to tell people what to think,” he added. “Sometimes it’s enough to show them something and let them figure it out.”

Beyond filmmaking, Lasisi is also navigating the changing dynamics of distribution. Through his company, Studio Genius, he leverages digital platforms such as YouTube to reach global audiences without traditional barriers.

“It’s a good time to be a filmmaker in terms of access,” he said. “You can create something and people all over the world can see it.”

However, that access comes with increased competition.

“There’s a lot of content,” he said. “A lot. So, the question is no longer ‘Can you make a film?’ It’s ‘Why should anyone watch it?’”

As artificial intelligence continues to evolve, Lasisi maintains that while technology can aid creation, it cannot replace purpose.

“It can help you create,” he said. “But it can’t decide what is worth creating.”

For him, the defining factor in filmmaking remains perspective.

“What will separate filmmakers is not the tools,” he said. “It’s how they think.”

That mindset is rooted in observation and shaped by his academic background in International Relations, which encourages a broader view of storytelling.

“Everything is connected,” he said. “People, environments, experiences. You can’t tell a story properly if you ignore that.”

As the conversation returns to the future of filmmaking, Lasisi remains measured—neither dismissing technology nor romanticising the past.

“Stories will always matter,” he said. “But how we tell them, and why we tell them—that’s where the real work is.”

In an industry increasingly defined by speed and volume, his perspective offers a different direction—one grounded not in what can be done, but in what should be done.

“The future is going to be louder,” he said. “More content, more noise. That’s inevitable.”

He paused, then added: “But the films that will stay… are the ones that actually have something to say.”