The End of Cinema? Films in 2026. ONLINE COURSE.
Online Course. 3-hour sessions. 8 Sundays. In English.
14th of June
21st of June
28th of June
5th of July
12th of July
19th of July
26th of July
2nd of August
Ticket Price (Sliding Scale):
€350–€450 for the full course
Registration Link
For any questions about pricing, syllabus or schedule, please, email: erakhilkina@gmail.com
We are not living in the future. We are living in the past, rendered in higher resolution.
If someone in the 22nd century looked back at us, what would they say the cinema of the early 21st century was about? Probably this: a civilization that knew something had ended but could not name what came next. We are living through a crisis, and it is producing an artistic moment of profound confusion and profound possibility.
For a long time, images were understood as representations of the world. Cinema told stories about reality—about history, desire, conflict. But something has shifted. We are now surrounded by images, yet it is increasingly unclear what they refer to. The past returns, but not as history. It returns as style. As something recognizable and safe. Politics appears as content. Experience is captured and fed back to us in an already edited form.
So what is cinema now? Is it the 20th century running on better screens? Is it the infinite scroll—TikToks, reels, fragments of crisis flattened into the same affect? Is it algorithmic recombination posing as creativity? Or is there still a possibility of an image that interrupts the loop?
Most film courses teach you to make images. This one asks whether making images is still a coherent act.
This workshop is built around that question. Across 8 sessions, we examine how contemporary films register a series of breakdowns: time no longer progresses cleanly; history becomes contested and incomplete; capitalism restructures everyday life; propaganda operates through feeling rather than argument; visibility becomes continuous; images detach from truth; representation turns into extraction; and the body itself becomes unstable.
Each session pairs two films with a short theoretical text. Participants watch the films in advance. In class: a lecture that situates the works within a broader conceptual framework, followed by an extended discussion. We move across Brazil, Austria, Lebanon, Taiwan and beyond, from the globally acclaimed new film canon of Apichatpong Weerasethakul to newer up-and-coming auteurs such as Jane Schoenbrun and even American blockbuster pro-military slop. We oscillate between these vastly different works not to map a global canon, but to trace how these conditions appear across different contexts.
This is not a filmmaking course. It is a course about how images function today.
It is intended for anyone working in or thinking through contemporary culture—artists, writers, designers, or simply those who want to understand the systems shaping their perception.No prior experience required. Only sustained attention. Employees of surveillance infrastructure are welcome to feel uncomfortable.