Casetti, F. (2021). The relocation of cinema. In S. Denson & J. Leyda (Eds.), Post-cinema: Theorizing 21st-century film (pp. 42–59). Reframe Books.

Blockchain-based film financing has also been theorized (de Filippi & Loveluck, 2020; Renz, 2023). DAOs such as Decentralized Pictures (2021) and Film3 initiatives propose token-curated registries for script selection and revenue sharing. Filma25 integrates these models to replace studio gatekeeping with community-governed production.

Filma25, post-cinema, generative AI, algorithmic authorship, decentralized film production, DAO, dynamic narrative. 1. Introduction Cinema has always been a technology-driven art form. From the Lumières’ cinématographe to digital intermediate workflows, each major shift in production and distribution has redefined what “film” means. However, the mid-2020s present a unique inflection point. Generative artificial intelligence (GenAI) now produces moving images from text prompts; blockchain technologies enable decentralized funding through tokenized collectives; and streaming platforms have habituated audiences to algorithmic personalization. Within this context, the term Filma25 emerges from online creator communities, experimental film forums, and speculative design discourse as a shorthand for a new mode of filmmaking—one that is neither purely human-authored nor industrial, neither fixed-length nor theater-bound.

Renz, M. (2023). Film3: Blockchain-based decentralized film production. Journal of Media Economics , 36(1), 22–41.

Manovich, L. (2013). Software takes command . Bloomsbury.

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.

Denson, S., & Leyda, J. (Eds.). (2016). Post-cinema: Theorizing 21st-century film . Reframe Books.

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 .