How are documentarians using AI to protect identities in sensitive films?

Documentarians like David France have used AI to digitally superimpose other people's faces onto the original subjects in order to obscure their identities and protect them in sensitive films, such as "Welcome to Chechnya" which chronicled the persecution of LGBTQIA individuals.

What concerns do documentarians have about the impact of AI-generated footage on public trust?

Filmmakers like Susana de Sousa Dias warn that the rise of AI-generated footage could make it easier to contest the "documentary status of images," leading to a risk of people "stop believing anything" and eroding public trust in media and archives.

How are documentarians working to ensure accountability in the use of AI technology?

Emmy-winning filmmaker Eugen Bräunig emphasized the need for self-regulation in the industry, urging productions to create cue sheets detailing the use of AI technology in order to stay ahead of potential questions and maintain transparency.

Home / Technology / Documentarians Confront AI's Ethical Challenges in Filmmaking

Documentarians Confront AI's Ethical Challenges in Filmmaking

17 Nov, 2025

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Summary

Documentarians discuss best practices and warnings around AI use in films
AI used to obscure identities and modify voices in sensitive documentaries
Concerns raised about AI-generated footage eroding trust in media and archives

Documentarians Confront AI's Ethical Challenges in Filmmaking

In November 2025, leading documentarians gathered at the International Documentary Film Festival Amsterdam (IDFA) to discuss the pressing issue of AI technology and its impact on the documentary film industry. The discussion centered around the possibilities and consequences of AI, as the form of documentary filmmaking is often tied to notions of truth and reality.

Oscar-nominated U.S. director and investigative reporter David France, who was at IDFA with his Sundance-breakout doc "Free Leonard Peltier," recalled using AI to obscure the identities of persecuted LGBTQIA individuals in his 2020 film "Welcome to Chechnya." This groundbreaking process, which involved digitally superimposing other people's faces onto the original subjects, was a necessary measure to protect their safety.