The transition from cinema to post-cinema is difficult to define. Post-cinema can be understood as a reflection of a shifting culture shaped by an increasingly neoliberal, capitalist world and the digitization of nearly everything. This shift has introduced new ways of producing, distributing, and viewing films. Emerging online platforms like Netflix and YouTube have also completely changed how we watch and who produces cinema (Denson and Leyda, 2016: p4). While some argue that cinema is dead, others believe it has been reinvented. Author Francesco Casetti says that because cinema represents and has such an influence on our culture, it is more than just technology; it’s a cultural experience that can adapt to new formats. (2015: pp 21-24). Cinema is no longer confined to theaters; it can now be viewed at home on TV or even on devices like smartphones. Casetti asserts that the experience of cinema is still there, whatever medium we watch it on (2015: pp 24-25).

Rotting in the Sun (2022), directed by Sebastián Silva, is a brilliant exploration of the post-cinematic age. It is a dark comedy, shot in a documentary style, starring Silva as himself, a depressed and isolated director living in Mexico. The film incorporates various digital mediums, such as Instagram reels, TikToks, and text messages, to reflect the pervasive influence of digital technology on modern life. For example, Sebastián often doomscrolls on his phone, with the screen showing a feed of viral, meaningless videos, symbolizing the endless depression he feels. He teams up with real-life influencer Jordan Firstman (also played by himself), but when Sebastián goes missing, Jordan’s first response is to post about it online. Despite the situation increasingly becoming more serious, we keep seeing Instagram stories of Jordan lamenting his missing friend. Jordan’s character embodies the digital-native lifestyle, where his livelihood and identity are entirely online.

Through its use of social media, Rotting in the Sun captures the experience of living in a world dominated by the digital. By blending these online forms with traditional cinema, the film underscores Casetti’s view of cinema as a cultural form, adapting to new media while retaining its core essence.

Written by Maisie Kelly 33752521

Bibliography

Casetti, F. (2015) The Lumière galaxy: seven key words for the cinema to come. New York: Columbia University Press.

Denson S. and Leyda J. (2016) Post-Cinema: Theorising 21^st Century Film. United Kingdom: Reframe Books.

Filmography

Rotting in the Sun (2022) Directed by S. Silva. [Feature film]. United States: Mubi.