TRUEFRAME FILM is a programmed venue for moving-image work made with generative AI — work that has been examined, frame by frame, against a public standard, and whose author has signed for how it was made.
Every film here carries a certificate. Not a label we invented for the occasion: a record you can check yourself, in one click, without an account and without asking us.
A film reaches this venue through two doors that work in completely different ways. Confusing them is how festivals lose their authority, so we state the difference on every screen where it matters.
Only work holding an active TRUEFRAME certificate at Level 2 or above appears here at all. This is not a curatorial preference: it is a database rule, and it applies to our own work with no exception. If a certificate is suspended, the film leaves the programme the moment it happens.
What is programmed is chosen by a programmer, openly and subjectively. Certification confers no right to be shown here, and being shown here confers no certification. There is no algorithm, and there will not be one.
Selection is never for sale. No paid review lane, no featured slots, no sponsor-placed titles in the programme. The first purchasable slot would make every slot suspect, so there is no first one.
Appearing here is opt-in, per film, and revocable at any moment. A certificate never obliges an author to show their work in this venue, and withdrawing costs nothing.
Three tempos, the way a film circuit actually works — a room that is always open, a monthly lineup, and one edition a year.
The permanent selected catalogue. Every film gets a page: the work, the filmmaker, and the certificate strip that says what was examined and when.
A named, dated, numbered lineup with a programmer's note and one premiere, screened at a fixed hour with the filmmaker present. A premiere that is always available is not a premiere.
A juried edition with named jurors, and citations published with their reasons — the same discipline the certification side already follows.
This venue is itself an exhibitor, which means this venue is itself a licensee. A film streams publicly here only where its rights actually permit public online exhibition, in the territory the viewer is watching from — read from the same clearance record a distributor sees.
So some films will say, honestly, that they are not cleared for public exhibition where you are. That is not a fault in the film and not an apology from us. A work whose score is licensed for festivals and not for streaming is fully accounted for — it simply has a rights position, like every film ever made. Saying so out loud is the product working, not the product failing.
Where another venue offers a making-of, we can offer something no one else can: the signed anatomy of the work. Which models made it and in which versions, where the music came from, what was granted under release, and which questions of law are still unsettled and were flagged rather than buried.
Optional for every author, always. But it is the culture we would like: not disclosure as an obligation, disclosure as craft.
No programme has been announced yet, and no film has been selected. The certification body opened before this room did, which is the right order: there is nothing to show until there is something certified to show.
We are not going to publish a countdown, an opening date or a number of films. When Programme Nº 1 exists it will appear here, with its films, its programmer and its date — and not one day before.
Nothing is submitted to this venue directly. Films arrive from the Registry: a work is certified first, and selection is considered afterwards.