How are young people redefining modern filmmaking?

Much has been said about the contemporary state of filmmaking, especially when it comes to how it involves the youth of today, and yes, I am aware of the irony of that statement as I myself am a ‘youth’. But I digress, it is my position as a ‘youth’ that gives me providence to explore how young people are redefining modern filmmaking, specifically in relation to Variety’s latest article on how ‘Gen Z’ audiences wish to see themselves on screen, courtesy of a study by the Center for Scholars & Storytellers (CSS) at UCLA. Here I will not only unpack the findings of this article and study but offer my own opinion as a journalist who is ‘Gen Z’, potentially offering some ‘Hot Takes’, if you care to indulge me.

Over 55% of young people wish to see more neurodivergent characters on screen and 57% want to see more platonic relationships represented

Firstly, the most notable statistics to emerge from the study are that over 55% of young people wish to see more neurodivergent characters on screen and that 57% want to see more platonic relationships represented. To me, these trends do not suggest an ‘escape’ to the fantasy cinema and fantasy, a motivation seldom neglected among descriptions of ‘Gen Z’, but a need to provide more true to life and authentic stories on the screen which actively represent our lives.

However I was dismayed to have noticed ‘the line in the sand’ that was the split over AI, with 27.4% of respondents who were 19 years old responding with, and I quote, ‘Doom’ toward the prominence of AI while 44.2% of 10-13 year olds from ‘Gen Alpha’, who are growing up with this technology, finding it fascinating, a truly worrying prospect.

AI must be tamed and used only in such an environment that can limit its spread, so that the core factories of filmmaking, storytelling and art remain

Having researched and written about artificial intelligence and its place in the film and entertainment industry previously, I came to the conclusion that such technology must be tamed and used only in such an environment that can limit its spread, so that the core factories of filmmaking, storytelling and art remain. But seeing at best the insouciance and at worst the ‘fascination’ of younger generations toward the place of artificial intelligence in modern filmmaking, I can offer only hope that the aforementioned efforts to show more real, authentic, human stories in film overpower the dangerous curiosity towards AI.

I was also marvelled by the reach and power of this study, as the CSS annual ‘Teen’s and Screen’s Report’, was the subject of a summit on October 22nd, attended by CAA, UTA and even Disney in an effort to listen to and better inform their work for young people. Such a sentiment of properly listening to young people seems to be the overarching theme of the article, as reiterated by the CEO of CSS, Yalda T. Uhls, who emphasises throughout the article the importance of actually listening, rather than going with the assumptions and preconceived notions derived from stories that older generations gravitated toward in their youth.

It seems that challenging preconceived notions is the ultimate aim of the study, as Uhls admits her own biases over short form content such as TikTok and Instagram Reels, being a new pool of genesis for stories. As this media offers more opportunities to find stories that resonate with younger people, and while it may be reductive for me to rehash the much-discussed rise and success of young directors Curry Barker and Kane Parsons’, who have both Universal and A24 rushing to secure exclusive deals with them respectively, it is a pertinent fact that both found their start on YouTube.

Uhls hypothesises a process of translation which can be achieved between social media and film

Uhls hypothesises a process of translation which can be achieved between social media and film, while it may not be the stories translated verbatim, Uhls speaks of carrying over their style and perspective on themes and issues, and it is here I highly agree.

It seems the only way to move forward in this landscape of modern filmmaking is through conscious collaboration; we cannot forget what came before and must continue to pay homage to filmmaking as an institution, but we should not neglect the efforts of young people who exist outside of it, who are willing to experiment with new voices, styles and forms of communication. To be succinct, age is no guarantee of wisdom nor is youth a guarantee of innovation, the only way forward is to listen to what us ‘youngens’ have to say, and work together.