Director & Producer. Fiction, documentary, AI native filmmaking. Feature selected at Cannes and Busan, released in 28 countries.
Joined March 2026
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2026 in images.
A year of directing for brands, musicians, studios developing their next films or series, and for my own cinema.
And the year isn’t over yet.
Live action, generative AI and hybrid.
Commercials, music videos, proofs of concept and short films.
A whole city hunts them.
FLARE · A dystopian action thriller · Feature teaser
Made on @higgsfield with @Kling_ai 3.0 and Seedance 2.0
SUBSTRATE, my short film for the @higgsfield_ai Global Film Festival.
Everyone sees a world of their own. One boy sees what's actually there. Then he finds a camera.
#HiggsfieldGlobalFilmFestival
#HiggsfieldFilmFestival
Made entirely in the open. The whole project is public: every generation, every step from first characters' reference sheets to final cut.
higgsfield.ai/@horomata/proj…
Made entirely in the open. The whole project is public: every generation, every step from first characters' reference sheets to final cut.
higgsfield.ai/@horomata/proj…
SUBSTRATE, my new short. Built in the open, film and process visible as it grows.
In a world where every mind renders its own reality, one boy is born unable to. He sees the raw world underneath
higgsfield.ai/@horomata/proj…
Childhood at War. I made this in 2021.
This is what generative AI looked like before the tools existed. No Midjourney, no DALL·E 2, no Stable Diffusion, no prompt box.
So I wrote the thing myself: Python in a Colab notebook, a model I trained on a set of images I chose, then left running for days.
AI images from that period have a look of their own. The grain, the softness, the depth of field no lens would give you. You can date them at a glance. No other technology ages this fast.
This belongs to HOROMATA, the body of work I made that year. Timestamped on chain in December 2021, published as a book in June 2022.
HOMEWARD. A one-minute piece made with @utopaistudios.
A boy who wants to go home, a buffalo that won't move, and what happens when he stops fighting.
Exploring how to fit a full arc into a very short film: a want, a wall, a shift.
Grateful to @utopaistudios for backing this.
What I see at film markets right now: buyers and financiers no longer greenlight from a deck. They want to watch the thing before it is made.
A moodboard and intentions on paper do not carry a room anymore. So the proof of concept became the pitch, and AI is what makes it affordable.
At Horoma Films this is increasingly what we are asked for. Those stay confidential. REPLACED is my own, so I can show it.
A thriller concept: Claire, a high school student, wakes up erased from everyone's memory. Her parents, her best friend, her school: no one remembers she exists.
Every frame is generated. The direction is not. The tool is getting easier every day. Knowing what the scene needs is the work.
2026 Grand Prix Winner at @runwayml AIF by Robert Gaudette.
A genuinely well crafted film. A touching story carried by a strong aesthetic universe, with something of Jean Pierre Jeunet in it and echoes of a more Desplechin style French cinema. Special mention for the sound work too, often overlooked in short form in general and even more so in AI.
Robots, space operas, epic fantasy, animation, all great, but it's refreshing to see a piece that leans this much into tone and emotion for once.
Congrats @rgaudetteai ! 👏
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Exactly this. The stitching era wasn’t filmmaking, it was patch management. Omni mode gives you the take back.
DŌKYŌ: A Three-Minute-Long Single-Take Short Film Made with AI
We can agree that Bytedance Seedance 2.0 totally changed how people create videos. Omni mode enabled faster creation of short films, solo creators making feature-length films, and you can create a 15-second commercial in one shot with a single prompt. But it also opened the door to long, continuous takes, which were not possible.
Usually the length of a generated clip is limited to 8–15 seconds. Of course some people tried to cheat around this limitation by doing last frame first frame generation and stitching, but it breaks the camera movement and the pace of the actions.
With Seedance, it was very different: instead of fighting the engine I was able to think about what I would like to see, instead of what are the limitations. I planned the framing, the camera movement, the action, and built the three-minute sequence step by step. Of course, this means if you later realize that something is wrong three or four sections earlier, you have to redo everything that follows.
Visually, I wanted to maintain a very cinematic, low contrast, grainy, soft look, siilar to an expired 8mm or 16mm film, so there was no upscaling, rather the opposite: softening the image in every possible way.
#DreaminaCPP @dreamina_ai
Audiences will decide…
Ron Howard says audiences will decide whether or not AI movies succeed:
“It’s going to be, again, up to the audiences to determine what appeals, what resonates. It’s going to ultimately be determined by us. What’s worth our time? What are we invested in? What values do we care about? Do we care about knowing the alive actors on screen and connecting with them for that reason, or which I think won’t ever go away, but are we also fully willing to invest in characters that are synthetic? There are already CGI characters, there are already animated characters. So, I think the answer is, we don’t really know, but I expect there’s room for all of it."
variety.com/2026/film/news/r…
In my experience, two things get hard fast in AI video once you put several characters and layered action in a single shot: consistency, and holding the realism and quality.
So I experimented. What worked on Ombak, my Seedance 2 short: generate the background action as its own clip first, then use it as a reference for the main shot.
What worked on Ombak, my Seedance 2 short: generate the background action as its own clip first, then use it as a reference for the main shot of the lead crossing the room with that clip as reference. Seedance picked up the dialogue and adapted the pacing of the main shot to it. The speed of her walk matched the length of the conversation behind her on its own.
And since the reference clip carries the background, the prompt can stay focused on the foreground action. No overloaded prompt, no drop in quality, and the yacht's architecture stays consistent throughout the film.
Ombak is a 15-minute short made with Seedance 2: a supernatural psychological thriller about a young Indonesian stewardess stranded at sea, rooted in local folklore.
We used it at Cannes last month as a proof of concept to move the feature forward.
Full film: youtu.be/gGYPdCVDw24
Horoma Films retweeted
Martin Scorsese is backing a new AI company and using the technology to storyboard movies.
“Cinema is a young medium, only around 125 years old, so we have to be open to how it can evolve.”
variety.com/2026/film/news/m…
