We conclude that Filma25 is not a prediction but a provocation . It maps a plausible trajectory from today’s AI-assisted editing (e.g., Adobe Firefly video) and crypto-funded indie films (e.g., “The Milk of Dreams,” 2024) toward a fully generative, decentralized, and dynamic cinema. Scholars and practitioners would do well to engage with its implications before the paradigm arrives unbidden. Brooks, T., Holynski, A., & Efros, A. A. (2024). Video generation models as world simulators. OpenAI Technical Report .
This paper has three objectives: (1) to define Filma25 as a coherent conceptual model, distinguishing it from earlier digital and post-digital movements; (2) to analyze its core technological and organizational pillars; and (3) to evaluate its cultural and aesthetic implications. The central thesis is that Filma25 is not merely a technical upgrade but a paradigm shift from representation to generation, from distribution to accessibility, and from director-centered auteurism to distributed algorithmic authorship. Scholarship on post-cinema (Denson & Leyda, 2016) has emphasized the dissolution of classical dispositif—the dark room, the unified spectator, the linear narrative. Steven Shaviro (2016) argues that digital media have replaced indexicality with algorithmic calculation. More recently, Francesco Casetti (2021) introduced the concept of “relocation,” whereby cinema’s functions migrate to new dispositifs (smartphones, VR headsets, smart glasses). Filma25 radicalizes this relocation by making the algorithm the primary authorial agent. filma25
Filma25: Toward a Post-Cinematic Paradigm of Algorithmic Authorship and Decentralized Distribution Abstract The digital transformation of cinema has entered a new phase characterized by generative artificial intelligence, blockchain-based financing, and fragmented viewing ecologies. This paper introduces the concept of Filma25 —a theoretical framework for a filmmaking model that emerges from the convergence of three technological vectors: AI-driven pre-visualization and post-production, decentralized autonomous organizations (DAOs) for funding and governance, and dynamic, personalized narrative delivery. Drawing on post-cinema theory (Shaviro, 2016), software studies (Manovich, 2013), and recent experiments in AI filmmaking (e.g., Runway ML, Sora), this paper argues that Filma25 represents a potential paradigm shift away from classical cinematic apparatus toward what we term “algorithmic authorship.” The paper analyzes speculative workflows, ethical implications regarding human creative labor, and the aesthetic consequences of procedurally generated film content. It concludes by proposing that Filma25, whether as a named movement or a descriptive label, captures the material conditions of film production and consumption likely to dominate the late 2020s. We conclude that Filma25 is not a prediction
de Filippi, P., & Loveluck, B. (2020). The invisible politics of blockchain governance. Internet Policy Review , 9(2). Brooks, T
Renz, M. (2023). Film3: Blockchain-based decentralized film production. Journal of Media Economics , 36(1), 22–41.
Casetti, F. (2021). The relocation of cinema. In S. Denson & J. Leyda (Eds.), Post-cinema: Theorizing 21st-century film (pp. 42–59). Reframe Books.
In parallel, generative AI research in computer vision (Ho et al., 2022; Brooks et al., 2024) has demonstrated text-to-video synthesis with increasing temporal coherence. While early models (Runway Gen-1, Pika Labs) produced short, surreal clips, newer systems (OpenAI’s Sora, Google’s Lumiere) achieve minute-long sequences with causal continuity. For Filma25, these models are not auxiliary tools but central production engines.