Author’s note

This project comes from my interest in everyday, intimate stories, and from exploring how AI tools can be used within auteur cinema without imposing spectacle or replacing a human gaze.

The short film was developed solo and, deliberately, I left some moments unpolished:
to observe and make visible the limitations, simplifications, or biases that can emerge in experimental contexts. Here, AI is not “magic” but a tool with frictions, and the project embraces those traces as part of its language.

AUTHOR PRESENTATION
I am an audiovisual creator interested in everyday stories, in seemingly neutral spaces, and in the small gestures that carry a deep emotional charge.
My interest in cinema comes from observation: watching how people live alongside what cannot be easily resolved — grief, memory, absence, the passage of time.
The Laundry of the Unwashables is a project made entirely solo, using artificial intelligence tools as a central part of the creative process. Not only as technical support, but as a field of conscious experimentation.
In the context of independent creation and in dialogue with the spirit of +RAIN Film Festival, I made the deliberate decision not to polish or correct every result produced by AI tools. Some moments of the project retain imperfections, oddities, or inconsistencies that respond to the biases, limits, and frictions inherent to these technologies.
This choice is neither accidental nor negligent: it is part of the project’s discourse. I was interested in observing what happens when AI is not used to hide its limits, but to make them visible within an intimate, everyday cinematic language. Leaving these traces is a way to question the neutrality of technology and to open a critical space within the creative process itself.
In this project, AI does not replace the human gaze or the artistic decision. On the contrary: it puts them under tension. It forces me to dialogue with a tool that also interprets, simplifies, and biases reality, just like any cultural system does.
The Laundry of the Unwashables is thus a double exploration: a story about what cannot be “washed” out of life, and a process that accepts that the tools we create with are not neutral or perfect either. Owning it, showing it, and working with it from fragility is part of the project’s meaning.
I believe artificial intelligence can open new paths for auteur cinema if it is used with awareness, limits, and critical responsibility. This short film does not offer an answer, but an open question: how do we live with these tools without ceasing to look at ourselves as humans?