What I Learned at Netflix, and Felt About Anora: An Oscars AI Parable

#HAPPENINGNOW | There was a technology story that was a bit more under-the-radar at the 2025 Oscars, but it's a lesson worth digging into…

There was actually a data-AI-future story embedded within the Oscars last night, but it’s unlikely to be one that is much talked about. It wasn't about whether AI made it into any of the movies nominated, or how technology will work its way into the films of the future, but instead it was about IQ versus EQ, and data crunching versus heart-and-soul.

The OG Data-Driven Movie Company

I worked for Netflix 20 years ago. I left as naively as I joined, with a bit too much hubris, and a shocking lack of financial foresight (my stock options would have been quite a bit more valuable had I stayed). But even in my misguided defiance, I have often repeated a criticism of the company that (based on this year’s Oscars fiasco) seems to still fit: the company had/has “too many scientists and not enough philosophers.”

While Netflix has no doubt softened and diversified over the years — especially as it has taken on Hollywood — the company was, and still is, a Silicon Valley stalwart.

The extent to which Netflix uses technology to make content decisions would either dazzle or depress you — depending on how much you understand about the ways our content choices frequently are not our own.

But the relevance of my scientist/philosopher description seemed to have borne out in the worst way this Oscars season, as Netflix’s Spanish-speaking, French-made tale about a former brutal cartel leader transitioning to a woman —"Emilia Pérez" — turned disastrous fast.

The movie's star, Karla Sofía Gascón, had posted a litany of offensive comments online over the years (and no one thought to check). The movie also culturally missed the mark for just about every group, not the least of which were Mexicans, who felt the movie was rife with stereotypes (and shot primarily in France, which didn't help).

Here's the point: the data may have suggested the cultural zeitgeist was ripe for this movie, but every high-EQ indicator would have blinked red with avoid-at-all-costs. To not even consider doing the proper checks of the talent's past remarks shows that they went big on the data crunching, but were woefully under-prepared for reality.

On the Other Hand: “Anora”

I could go on forever and ever about what I loved about the movie "Anora." But, for the purposes of a "tech" perspective here, and a reinforcement of what I often write about when it comes to the pitfalls in AI innovation, it was a non-pandering, slice-of-reality, created by a director who observes, without judgment, real people, and unexplored communities.

In fact, it was a movie subject that no data right now would ever suggest a director to tackle (the sample size alone would have been woefully lacking).

Sean Baker never veers far from his vision. He has created a number of great films that are worth watching, most recently Red Rocket and The Florida Project. He frequently focuses on sex workers, but uses their world as a realm to explore, rather than suggest his characters are monolithic or share any beliefs.

Even the twist at the beginning of "Anora" where you think this will be an expected and satisfying "fairytale," ala Pretty Woman, could never have been done with today's AI-generated convention, because AI sees the patterns we create ("Pretty Woman") not the messy patterns we live out in reality (the beautiful ending of "Anora").

Holding on to Our Humanity

I'm happy that there are data-based decisions being made related to content, and that much of what I sit on my couch to watch is designed to delight me.

But I also think AI can't replicate what is inside of us. That feeling imparted by a single knowing look, for instance.

One of the most outstanding, underrated, and singularly powerful performances in “Anora” is that of Igor. Played by Russian actor Yura Borisov, much of Igor's communication in the movie is through his eyes. His gaze expressed bemusement, wonder, tenderness, frustration, and even love. It's hard to say if it had been the same movie without him.

It's the unspoken that we need to observe and hold on to — a feeling imparted by the senses. If we lose human interaction, we lose this as well.

And that was also Baker's call-to-action in one of his acceptance speeches (the filmmaker made history, winning best director, best original screenplay, best film editing and best picture)… don’t give up the in-person theater experience.

We all enjoy movies streamed at home. It’s a new reality (ironically) pioneered by Netflix. But theaters are also a shared human experience that would be tragic to see go.

The future, for all of its promise, exciting innovation, and opportunity, cannot look us deeply in the eyes and know what we are thinking. At least for now. And if we give up on what makes us human, we give up everything.