More than a century after her screen debut and decades after her death, Greta Garbo’s likeness has been revived through artificial intelligence technology for a contemporary advertising campaign, prompting discussions about the potential for digital resurrections of Hollywood icons.

Garbo’s digital reanimation was created for an industrial advertisement by Swedish ball-bearing manufacturer SKF, marking the first time her image has been used in moving form since her passing. The brief 99-second spot uses AI-generated imagery to recreate Garbo’s appearance and voice, intercut with visuals of SKF’s products. The campaign draws a historical link to Garbo’s early career, as her second-ever screen role was in a 1921 promotional film associated with the Gothenburg-based company.

Craig Reisfield, one of Garbo’s relatives who manages her legacy, expressed surprise at the quality of the AI recreation, describing it as “pretty incredible and lifelike.” Reisfield, who knew Garbo personally, noted the firm grasp the technology had on her mannerisms, clothing, facial features, and vocal qualities. The digital performance concluded by echoing one of Garbo’s most famous lines from the 1932 film Grand Hotel: “I want to be alone.”

Unlike typical AI recreations that rely heavily on existing images or footage, the creators behind this CGI Garbo employed a text-prompt approach to generate her likeness, utilizing advanced AI models from Chinese developer Seedream and Google’s Nano Banana Pro, while overlaying the digital image on a human actor’s movements. Garbo’s voice was reconstructed using audio sourced from her early films, bypassing direct use of protected visual materials to avoid copyright issues.

While some parts of the AI Garbo’s dialogue received mixed reactions, the level of detail exceeded the so-called “uncanny valley” effect, where digital portrayals can appear unnervingly artificial. The spot highlights both the technical advancements in AI-enabled filmmaking and the sensitivities involved in posthumous representations of cultural figures.

The use of AI to revive or reimagine deceased actors has sparked debate, with critics labeling the practice as “ghostploitation” when individuals are digitally resurrected without their consent. Val Kilmer, who passed away last year, has also been recreated in this manner. The Garbo estate maintains a cautious but open stance toward further uses of the technology. Reisfield indicated that the family is “very discerning” about partnerships involving the actress’s voice, name, and image, with previous posthumous collaborations taking place in the fashion industry through brands such as Ferragamo, Gucci, and Louis Vuitton.

Across the entertainment industry, several major studios and filmmakers are investing in AI-driven tools for content creation. Veteran directors like Ron Howard and Paul Schrader are exploring AI’s potential in film production, while emerging creators are developing AI-native works outside traditional studio systems.

Reisfield suggested that Garbo, who successfully transitioned from silent films to talkies and captivated audiences worldwide, might have embraced AI-enhanced performances, given her pioneering role in cinematic history. The current digital recreation of Garbo underscores both the possibilities and challenges presented by artificial intelligence in preserving and extending cultural legacies.