Posthuman Cinema launches a reimagining of experience, human exceptionalism, bodies, materiality, and the mystical.

Posthuman Cinema's chapters map how Deleuze's transcendental empiricism materializes in the forms of Malick's Tree of Life (2011); how Fay's (2018) theorizing of the Anthropocene as an aesthetic experience animates Tarkovsky's Mirror (1974) and Stalker (1979); how Sharp's (2011) framing of a posthuman corporeality flattens any exceptionality attributed to humans in Wong's In the Mood for Love (2001) and The Grandmaster (2013); how Bennett's (2010) theorization of vibrant matter makes visible the materiality that embeds us in the world within Nair's Monsoon Wedding (2001) and The Namesake (2006); and how Stengers' (2010 and 2011) cosmopolitics illuminates the power of the mystical beyond our minds and bodies in Herzog's Cave of Forgotten Dreams (2010) and Kunuk's Atanarjuat (2001).