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STOLEN 67 — a Kogane Bay story

A girl who keeps a notebook of the disappeared is offered her dead father's voice back — if she lets the city be sold.

A short film · 8:10 · 2026

72 HOURS EARLIER ↓

01

The story

In Kogane Bay, the Carmine corporation buys the voices of the people it kills: every recording, bought from the family, so the dead can never testify. Sundog Vega keeps a notebook of faces she has drawn wrong, and her father is in Carmine's vault. When a crew of three strangers takes her in, she gets one night to steal back the city's charter before it lapses at midnight — and one offer, from the woman who owns her father's voice, to trade the city for him.

THE KEPT

IDRIS VEGA — MECHANIC

RECORDING · 1 OF 1

When Carmine kills you, they buy your voice off your family — every recording you ever left — because a voice can testify.

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Stills

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100% AI

Every frame of STOLEN 67 is generated. No performer was photographed or recorded; every face in the film is a synthetic identity built from a single locked image.

The method is anchored identity. Each character exists as one reference image, and every later frame is an edit conditioned on it, so the cast holds across the whole film. The look — grade, grain, the 2.39:1 frame — is applied once, in code, to all of it. Type is drawn, never asked for.

The edit, not the script, is the film: eight minutes and ten seconds, cut from a screenplay that ran almost eleven.

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CLIPS

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VOICE CUES

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MUSIC CUES

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SCRIPT PASSES

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LOCKED IMAGE PER FACE

Seedream 5 Pro · Seedance 2.5 — imagery and motion pictureClaude (Anthropic) — screenplay, editing and productionElevenLabs — voicesMiniMax Speech-02 — voice development

100% pure AI

04

Director's statement

I wanted to make a film about the difference between a face and a voice.

You can carry a face badly and still have it — I have drawn people from memory and got them wrong and kept them anyway. A voice you cannot approximate. It is either recorded or it is gone. That asymmetry felt like the cruellest thing a state could exploit, so I built one that does: a corporation that buys the voices of the people it kills, so that nothing they said can ever be entered into evidence.

Everything in the film is AI-generated, and I did not want that to be the subject. The method is anchored identity: every character exists as one locked image, and every later frame is an edit conditioned on it, so the cast holds across seventy-three shots. The look is applied once, in code, to all of them. Type is drawn, never asked for. The discipline is the opposite of what the tools want to do, which is drift.

The film ends with a young woman saying a dead man's name into a camera the state pointed at her. That is the whole argument.

— Yuri Livshitz

STOLEN 67

a Kogane Bay story

written and directed by

YURI LIVSHITZ

produced by

DANIELLA LIVSHITZ

in memory of

VLADIMIR DYMENT

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Press

Poster, stills and the AI disclosure are free to use with credit to the film.