NYFF Film Review: ‘Artificial’ is a Funny Yet Also Terrifying Look at the Irresponsibility That Could Lead to Our AI Doom

There are few things scarier these days than any story about the progression of artificial intelligence. Every new big of information about AI and what it can do, or even might do, is absolutely chilling. Between a litany of science fiction warnings, our own human instinct for destruction, and the overall way the world seems to be going, it’s hard not to look at AI and see our imminent demise. The makers of Artificial, world premiering at the 64th New York Film Festival, certainly agree, pinpointing the people involved in OpenAI as central culprits. To quote Dr. Ian Malcolm from Jurassic Park, they “were so preoccupied with whether they could, they didn’t stop to think if they should,” and now, we’re all going to pay the price.

Artificial begins as a pitch black comedy, trafficking in some pretty dark humor about where we might be headed. The first half of the film is actually very funny, while the second half pulls back on the jokes, eventually becoming a fairly sobering drama. The movie runs out of steam during the third act, but until then, there are a lot of laughs, some very strong acting, and an intelligent look at how we got into this AI mess in the first place. Had the flick kept up its propulsive feel beyond the first two acts (and it even begins to wane somewhere in the second act), this would have been one of the best works of 2026. Instead, it’s just a very good one, bringing Luca Guadagnino back into successful Challengers territory after the misfires that were Queer and After the Hunt.

We begin in 2003, when seventeen year old genius Ilya Sutskever (Yura Borisov) seeks out Toronto University professor Geoffrey Hinton (Mark Rylance), convincing Geoffrey to take him under his wing. Ilya is the key in unlocking the first major breakthrough in artificial intelligence, leading them to make millions at auction, going to work for Google. Their success leads not just to Ilya wanting to push AI to places his mentor is uncomfortable with, but also to the prodigy being noticed by tech bros Sam Altman (Andrew Garfield) and his partner Elon Musk (Ike Barinholtz).

Wooing Ilya, he eventually goes to work for Altman at his new AI company, OpenAI, bankrolled by Musk. Ilya is the brains of the operation and sees the technology as the gateway to end human suffering. Altman and Musk see dollar signs. As the company builds up, tensions begin to form, as Altman sycophants like Greg Brockman (Cooper Hoffman) parrot the company line, while CTO Mira Murati (Monica Barbaro) aligns with Ilya’s worries about what OpenAI and ChatGPT are capable of. These concerns lead to them eventually convincing the board to replace Altman, though that proves to be a short-lived decision. The rest? Well, it could mean that we’re history.

Yura Borisov proves that Anora was no fluke, delivering another strong performance as the moral center of the film. While I wish the screenplay spent a little more time on Ilya’s evolution, Borisov sells it, really coming alive when the character is no longer a true believer. Andrew Garfield showcases all of the charm of Sam Altman, but also the snake-like demeanor that some in his circle eventually recognize. The way he makes Altman charismatic but with truly no moral center is consistently compelling. For Garfield to do this, almost as a counterpoint to his role in The Social Network, is quite interesting to witness. Ike Barinholtz steals every scene he’s in, playing Musk as the absolute weasel we know him to be. It’s a savage skewering that generates some of the movie’s biggest laughs. Monica Barbaro, Cooper Hoffman, and Mark Rylance are all good as well, though rarely at the center of the story, with Barbaro and Rylance often only being in relation to Borisov. The large supporting cast includes Will Angus, Fedor Fedotov, Billie Lourd, Zosia Mamet, Chris O’Dowd, Will Price, Jason Schwartzman (riveting in one scene on a park bench), and more.

Director Luca Guadagnino and writer Simon Rich spent 140 minutes documenting how AI became a commodity, and the dangers within. Rich’s script is very funny, especially early on, so it feels like much of the wit comes from him, while the heaviness and the visual style come from Guadagnino. It’s largely a successful mix, buoyed by some very strong acting, though the third act depiction of Altman’s short-lived firing is both oddly dull and rushed through. It’s fine that this isn’t actually what the film is about, frankly it’s a better product for being further reaching, but such a central moment is notable for being the flick’s weakest link. The final scenes feel out of a less interesting movie, though they’re hardly bad. Guadagnino and Rich just hook you so well early on, the fact that they run out of steam about 90 minutes into a two hour and twenty minute work is a shortcoming. The score by Damon Albarn is quite good, while there are strong visuals from cinematographer Malik Hassan Sayeed.

Artificial is unlikely to convert any AI devotees, so it’s somewhat preaching to the choir, but the sermon is still well worth listening to. The fact that this manages to be an entertaining film, in addition to a horrifying look at the fools and geniuses who may have doomed us, is worthy of praise. The movie played liked gangbusters at NYFF, and even if I’m slightly more restrained in my acclaim than most, it’s still quality cinema.

SCORE: ★★★