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Luc Besson Announces New Sci-Fi Project at Venice Film Festival
At the 83rd Venice Film Festival, Luc Besson—67, the French auteur who has made a name with high‑concept science‑fiction—stepped onto the podium and declared that a new sci‑fi movie is in the works. The announcement came during a masterclass that ran from September 2 to 12, 2026, and the director described the forthcoming project as “crazy,” adding that audiences might need a ticket and an aspirin at the same time.
Besson’s remarks were part of a broader conversation about how filmmaking technology has evolved. He pointed out that the special‑effects tally for his first major hit, The Fifth Element (1997), was 182, while the visual‑effects workload for Valerian and the City of a Thousand Planets (2017) climbed to 4,000. “I’m older, so I’m trying to explore everything now,” he told Variety.
The veteran filmmaker also tackled the role of artificial intelligence in the creative process. He urged his peers not to fear AI, describing it as a tiger that can be tamed. “It’s a tiger – but you are a guy with a whip, speaking German to it,” Besson said, encouraging artists to embrace new technology rather than resist it.
Besson used his recent feature, Dracula: A Love Tale (2025), as a case study for genre subversion. He admitted that horror films scare him, yet he approached Dracula as a love story. The film stars Caleb Landry Jones and Christoph Waltz, and Besson praised Jones as a “genius” who can play any role. “I made that movie for him, to be honest,” he added.
Reflecting on his own career, the director said he will keep making movies or die, citing a first‑time on‑set vomiting incident that taught him the importance of perseverance. “I didn’t choose it, exactly, but it just makes you strong,” he said.
Passion, Besson explained, is the bedrock of filmmaking. “If you are not passionate as an artist, if it’s not in your DNA … the success doesn’t matter,” he asserted. He warned that pressure to compromise can dilute a film’s vision, and he prefers projects that align with his personal interests.
The Venice Film Festival, the world’s oldest and one of the “Big Five” international festivals, hosted Besson’s masterclass in the city’s historic Palazzo del Cinema. The event drew filmmakers, critics, and industry professionals from around the globe.
Industry observers note that Besson’s upcoming sci‑fi venture follows a decade of high‑budget, visually ambitious films. His previous works—The Fifth Element, Valerian, and Dracula—have varied in commercial success but consistently showcase his distinctive visual style and willingness to experiment.
While no plot details have been released, Besson’s comments suggest a return to the high‑concept, effects‑heavy storytelling that defined his early career. The film is expected to be produced under EuropaCorp, the company he co‑founded in 2000, and may involve international co‑production partners.
As the film industry continues to adapt to new technologies and shifting audience expectations, Besson’s statements underscore the enduring relevance of creative vision and technical innovation. Fans and industry insiders alike will be watching to see how his new project balances spectacle with narrative depth.
The film’s release date, budget, and distribution plans remain unannounced. Besson’s next public appearance is scheduled for the Cannes Film Festival in May 2027, where he may provide further updates.
Besson’s remarks were part of a broader conversation about how filmmaking technology has evolved. He pointed out that the special‑effects tally for his first major hit, The Fifth Element (1997), was 182, while the visual‑effects workload for Valerian and the City of a Thousand Planets (2017) climbed to 4,000. “I’m older, so I’m trying to explore everything now,” he told Variety.
The veteran filmmaker also tackled the role of artificial intelligence in the creative process. He urged his peers not to fear AI, describing it as a tiger that can be tamed. “It’s a tiger – but you are a guy with a whip, speaking German to it,” Besson said, encouraging artists to embrace new technology rather than resist it.
Besson used his recent feature, Dracula: A Love Tale (2025), as a case study for genre subversion. He admitted that horror films scare him, yet he approached Dracula as a love story. The film stars Caleb Landry Jones and Christoph Waltz, and Besson praised Jones as a “genius” who can play any role. “I made that movie for him, to be honest,” he added.
Reflecting on his own career, the director said he will keep making movies or die, citing a first‑time on‑set vomiting incident that taught him the importance of perseverance. “I didn’t choose it, exactly, but it just makes you strong,” he said.
Passion, Besson explained, is the bedrock of filmmaking. “If you are not passionate as an artist, if it’s not in your DNA … the success doesn’t matter,” he asserted. He warned that pressure to compromise can dilute a film’s vision, and he prefers projects that align with his personal interests.
The Venice Film Festival, the world’s oldest and one of the “Big Five” international festivals, hosted Besson’s masterclass in the city’s historic Palazzo del Cinema. The event drew filmmakers, critics, and industry professionals from around the globe.
Industry observers note that Besson’s upcoming sci‑fi venture follows a decade of high‑budget, visually ambitious films. His previous works—The Fifth Element, Valerian, and Dracula—have varied in commercial success but consistently showcase his distinctive visual style and willingness to experiment.
While no plot details have been released, Besson’s comments suggest a return to the high‑concept, effects‑heavy storytelling that defined his early career. The film is expected to be produced under EuropaCorp, the company he co‑founded in 2000, and may involve international co‑production partners.
As the film industry continues to adapt to new technologies and shifting audience expectations, Besson’s statements underscore the enduring relevance of creative vision and technical innovation. Fans and industry insiders alike will be watching to see how his new project balances spectacle with narrative depth.
The film’s release date, budget, and distribution plans remain unannounced. Besson’s next public appearance is scheduled for the Cannes Film Festival in May 2027, where he may provide further updates.
