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Miss AL Simpson clads the Eiffel Tower in blue porcelain

La Tour En Porcelaine is an art piece more than a narrative film, built around a porcelain Eiffel Tower and fashion house models. The maker names no tools.

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Miss AL Simpson's new film, La Tour En Porcelaine, is artistic, striking and elegant from the first shot to the last. The full film runs just under six minutes and went up on X on 31 October.

What stopped me first was the tower. The film rebuilds the Eiffel Tower and clads it in traditional blue-painted porcelain, then fills the frame around it with models dressed as if they had walked out of a Parisian fashion house. Pearls, feathers, white doves and a French song carry it from the rooftops of Paris to the top of the tower.

Every shot is drenched in artistic flair and individuality. I read it as an art piece at its core rather than a generative narrative film, and that is why I keep going back to it. The whole thing holds together, consistent and true to its own sense of style and identity from start to finish.

For me it is a lesson in how to use generative tools to make something truly unique and original, rather than derivative. Made something in this spirit? Tag us so we can take a look.

Every clip is credited to its maker. If one is yours and you want it removed, message us and it comes down.

Source: Miss AL Simpson (@missalsimpson on X), 31 Oct 2026. Miss AL Simpson is @annalouisesimpson on Instagram.

Provenance — Miss AL Simpson (@missalsimpson on X), 31 Oct 2026. Miss AL Simpson is @annalouisesimpson on Instagram · Status: verified 2 Nov 2026: full film = post 2116651531810345365 by @missalsimpson, 31 Oct 22:00 UTC
The Eiffel Tower, clad in blue porcelain
Creators

Kling joins the $450K Chroma Awards, but most of the cash is tied to sponsor tools

Kling is the latest of 27 tool sponsors in ElevenLabs' Chroma Awards Season 2. Our count of all 74 prize pages finds $366,250 in listed cash, 52% of it tied to sponsor tools, and about $87,000 of the headline figure in unpriced travel perks. Entry is free and unlimited, and submissions close on 7 January 2027.

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Matty Shimura, head of the Chroma Awards at ElevenLabs, smiling in a cap, glasses and a mountain-print shirt in a field of yellow wildflowers

At 12:18 UTC on Monday 2 November, Kling's account on X told its roughly 138,000 followers that "Season 2 of the Chroma Awards (@chromaawards) is here, in partnership with Kling AI!" The post promised "$450K+ in cash prizes" and student internships, and closed with the offer that matters most to anyone who makes work with the tool: "Use Kling AI in your submission and share your work on social media to unlock additional prizes and perks."

The competition is real, free to enter and genuinely large. ElevenLabs, which incubates it, opened Season 2 on Monday 19 October across five divisions: Film, Music Videos, Advertising, Games and Behind-The-Scenes. But when we opened all 74 prize pages on the competition's site and added them up, the headline number split into something more useful to know. Most of the listed cash goes to entries built with a particular sponsor's tool, and the money any filmmaker can win with any workflow is closer to $120,000 than $450,000.

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