PILOT. I Can't Remember. Scenario 1: Market Forces.
TREATMENT
By 2050, climate change has reshaped everyday life without fundamentally changing the global economic system. Governments continue to rely on technological innovation and market competition to solve environmental problems. Artificial intelligence, automation and private investment have transformed agriculture, infrastructure and resource management. The economy continues to grow, yet prosperity is distributed unevenly as increasing numbers of workers become economically redundant.
Two teenage girls spend an afternoon overlooking vast automated farmland on the outskirts of their town. Drones move methodically above precision-managed fields while autonomous machinery quietly tends crops engineered to withstand extreme heat and prolonged drought. Beyond the horizon rises the headquarters of the corporation that owns most of the region's land and water rights.
The girls have grown up believing this landscape to be normal.
Their conversation begins with playful teasing about escaping their small town before gradually turning towards their families. One girl explains that her father has just lost his job after thirty years as a groundskeeper. The company's learning systems had monitored his work for years, recording every movement until his knowledge could be reproduced by autonomous machines. His dismissal is presented as a routine efficiency measure rather than a personal tragedy.
Without employment, the family can no longer afford the corporate licence granting access to irrigation water, community allotments and subsidised food production. Nothing has been confiscated. They have simply lost the ability to pay for services that were once considered public goods.
Her friend suggests that her own father might know someone looking for seasonal workers. Such opportunities have become increasingly rare. Human labour survives mainly where automation remains temporarily uneconomical.
As they speak, an autonomous maintenance vehicle passes nearby. Neither girl pays it much attention. Machines have become as ordinary as weather.
The conversation turns to the future. One girl insists that new technologies will eventually create new jobs, just as people always claim. The other quietly asks what happens when the machines learn every job before the next one is invented.
Neither has an answer.
A notification appears simultaneously on both of their phones.
The corporation proudly announces another breakthrough in agricultural automation. Food production has increased while labour costs have reached a historic low. Investors celebrate record profits. Consumers are promised lower prices.
The girls read the announcement in silence.
One finally remarks that her father's photograph had appeared in the promotional video several years earlier, demonstrating how the company's artificial intelligence learned from experienced workers.
Now he no longer appears.
The drone continues across the fields.
The crops continue growing.
The market has worked exactly as intended.
The film concludes with the girls looking across the landscape. Nothing appears broken. The harvest is plentiful, the technology efficient and the environmental targets are being met. Yet beneath this apparent success lies a quieter question: if the market can replace every worker more efficiently than it can create a future for them, who ultimately benefits from progress?
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Minna VäisänenWriter
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Paul HayesWriter
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Bi/etterminds .Producer
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Runtime:1 minute 13 seconds
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Language:English
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Film Color:Color
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First-time Filmmaker:No
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Student Project:No
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Digital Cinema Package:Unavailable
Bi/etterminds Biography
Bi/etterminds is the collaborative practice of Finnish visual artist and director Minna Väisänen and British writer and editor Paul Hayes. Working across comics, animation, photography, and digital media, they create concise visual narratives that explore memory, identity, ageing, grief, technology, bureaucracy, and the quiet absurdities of everyday life.
Their work combines literary storytelling with experimental visual language, transforming observations drawn from ordinary experience into surreal and psychologically charged short films and comics. Rather than offering clear resolutions, Bi/etterminds examines the emotional spaces between people, the systems that shape human behaviour, and the fragile ways individuals construct meaning in contemporary society.
Minna Väisänen directs and animates the films while developing their visual language through photography, illustration, vector graphics, mixed media, and emerging digital tools. Paul Hayes develops the narratives, concepts, and scripts, bringing a literary approach that blends understated humour with philosophical reflection and social observation. Together they have established a distinctive practice in which comics function not merely as illustrations but as original narrative works that frequently evolve into animated films.
Paul Hayes is a British writer, editor, and concept developer whose work examines the contradictions of contemporary life through concise, often understated narratives. His writing explores loneliness, ageing, bureaucracy, social structures, environmental anxiety, and the subtle tensions that shape everyday human relationships.
As the principal writer of Bi/etterminds, Hayes develops stories that combine philosophical observation with dark humour and emotional restraint. His scripts deliberately leave space for visual interpretation, allowing image and silence to carry equal narrative weight alongside dialogue.
Their films have been screened internationally at festivals and exhibitions in Europe, North America, Asia, and the Caribbean, with selections including Lift-Off Sessions, Top Quark Film Festival, Movilfest, Toronto Global Film Festival, AJR Vision de Cine Independiente, TJOV International Short Film Festival, and numerous independent showcases.
Bi/etterminds' work has also been featured in international publications, including interviews in Magpies Magazine and Hechyeomoyeo Art Magazine, where they discussed their collaborative creative process, the relationship between comics and animation, and the role of emerging technologies in contemporary independent filmmaking
I Can't Remember* grew from a question that feels increasingly relevant: what happens when human knowledge becomes more valuable than the people who create it?
We wanted to explore this through an intimate story rather than a dystopian spectacle. There are no villains, no dramatic collapse and no visible catastrophe. The farms are productive, the technology is efficient and the landscape appears healthy. On the surface, everything works. Yet beneath that apparent success lies a quieter loss. The experience, judgement and ingenuity of ordinary people have been absorbed into intelligent systems, while the individuals themselves gradually become expendable.
By focusing on two teenagers rather than the displaced worker himself, we explore how economic change is experienced by the next generation. Ella's father has not failed. After thirty years of work, he has helped create a system that no longer requires him. His knowledge has been preserved perfectly. His place in society has not.
The title carries a double meaning. People remember those they love, but institutions remember only the information they can capture, analyse and monetise. Human memory is emotional and imperfect; corporate memory is permanent but indifferent. The system remembers every decision, every repair and every innovation, yet quietly forgets the person behind them.
Visually, we chose restraint over spectacle. We wanted the future to feel familiar rather than alien, suggesting that profound social change often arrives gradually until it becomes accepted as ordinary life. The absence of obvious suffering invites the audience to question whether prosperity alone is enough if it comes at the cost of human dignity and belonging.
Ultimately, I Can't Remember is not a rejection of technology or artificial intelligence. It is an invitation to reflect on the values that guide technological progress. If our systems can remember everything we have ever taught them, we believe they should also remember the people whose lives, labour and experience made that progress possible.