Doug Liman’s feature film Bitcoin, formerly known as Killing Satoshi, has moved into a more important phase: Cannes-market exposure. The newest useful update is that Screen Daily lists Bitcoin among its 15 buzz titles from North America at the Cannes market, and reports that Patrick Wachsberger’s 193 will show first footage from the thriller to buyers. (Screen Daily)

The timing matters. The official Marché du Film site lists the 2026 Cannes film market as running May 12–20, 2026, meaning the sales window is now active. The broader Cannes Film Festival runs May 12–23, 2026. (Marché du Film)

The basic project profile remains the same. Bitcoin is directed by Doug Liman and stars Casey Affleck, Pete Davidson, Gal Gadot, Isla Fisher, and Finlay Robertson. Earlier Deadline coverage said the film had shifted from the previous title Killing Satoshi to Bitcoin, with Affleck playing Craig Wright and the project heading to Cannes market. (Deadline)

The newer Cannes-market coverage adds a stronger signal: this is no longer only a casting story or AI-production curiosity. It is now a buyer-facing market title. Screen Daily’s “first footage” note suggests the producers are moving from explanation to demonstration — showing buyers what the AI-heavy production method actually produced on screen. (Screen Daily)

The AI angle remains central. TheWrap previously reported that Bitcoin: Killing Satoshi was made with a custom gray-screen setup, AI-generated environments, and a reported $70 million budget, while being prepared for Cannes as it sought distribution. More recent Deadline Cannes talking-points coverage also frames the film as an AI test case, noting that the movie is already in post-production and asking whether audiences will care about the AI element. (TheWrap)

At the same time, there is still no public confirmation yet of a distributor deal, trailer release, theatrical date, streaming partner, or festival premiere slot in the latest sources checked.

BSV TIMES editorial read

Bitcoin has entered the next stage of its public life. The film is no longer simply “the Hollywood movie formerly called Killing Satoshi.” It is now a Cannes-market test case: a star-driven Satoshi/Craig Wright thriller, an AI-production experiment, and a buyer-facing title whose first footage may decide whether the project moves from curiosity to commercial film property.

The next real milestone is no longer casting. It is buyer reaction: whether Cannes footage leads to distribution, a release plan, or a wider media rollout.

Posted on May 15, 2026