The VHS Revival: A Rebel’s Manifesto in an Age of Streaming
There’s something undeniably audacious about releasing a film on VHS in 2024. It’s like showing up to a tech conference with a typewriter—deliberately anachronistic, almost defiant. But when I first heard about This Is How the World Ends, Robert dos Santos’s straight-to-VHS film, I wasn’t just intrigued; I was provoked. What kind of filmmaker would deliberately make their work harder to access in an era of instant streaming? Personally, I think this isn’t just a marketing stunt—it’s a cultural rebellion.
Why VHS? Because Imperfection is Human
Let’s be clear: VHS is a terrible medium. The image quality is grainy, the sound is muffled, and the tapes degrade over time. Yet, Dos Santos chose it precisely for these flaws. In a world where AI churns out flawless, soulless content, he’s betting on the beauty of imperfection. What makes this particularly fascinating is the intentionality behind it. By forcing viewers to hunt down a VCR, order a physical tape, and commit to a subpar viewing experience, he’s demanding something rare in today’s culture: effort.
From my perspective, this is a middle finger to the passive consumption model of streaming. Netflix and its ilk have trained us to binge-watch, skip intros, and forget what we’ve seen by the next day. VHS, on the other hand, is a ritual. You can’t fast-forward without rewinding. You can’t pause without ejecting the tape. It’s a reminder that art isn’t just something you consume—it’s something you engage with.
Nostalgia vs. Resistance: What’s Driving the VHS Revival?
One thing that immediately stands out is the resurgence of VHS isn’t just about nostalgia. Sure, there’s a warm, fuzzy feeling attached to the clunky plastic cases and the beep of a tape loading. But what many people don’t realize is that this revival is also a response to the fragility of digital ownership. When Disney+ can pull a movie from its library overnight, owning a physical copy feels like an act of defiance.
If you take a step back and think about it, Dos Santos’s film isn’t just a movie—it’s a manifesto. By choosing VHS, he’s rejecting the algorithm-driven, disposable culture of streaming. It’s a statement about the value of tangibility in a world that’s increasingly intangible. This raises a deeper question: Are we losing something essential by digitizing everything?
AI, Creativity, and the Human Touch
Dos Santos’s disdain for AI is no secret. He’s quoted saying, ‘If everybody can do something, then nobody can do it.’ This isn’t just a snobbish dismissal of technology—it’s a philosophical stance. In my opinion, he’s tapping into a growing unease about AI’s role in art. When a machine can generate a song, write a script, or even direct a film, what becomes of human creativity?
A detail that I find especially interesting is how Dos Santos links the physicality of VHS to the essence of being human. He’s not just asking viewers to watch a film; he’s asking them to participate in its existence. This isn’t about convenience—it’s about connection. What this really suggests is that art, at its core, is a dialogue between creator and audience. When that dialogue becomes too easy, too seamless, something vital is lost.
The Compromise of Being Human
Here’s the irony: This Is How the World Ends is visually stunning. The desert landscapes, the play of light—it’s a cinematographer’s dream. But on VHS, much of that beauty is lost. When I asked Dos Santos about this, he didn’t flinch. ‘Compromise is a part of experiencing life,’ he said. That line stuck with me.
In a world that fetishizes perfection, Dos Santos is embracing the messiness of existence. Personally, I think this is what makes his film so compelling. It’s not just a story about the end of the world—it’s a meditation on what it means to be alive, to struggle, to create.
The Future of Niche: Why VHS Won’t Go Mainstream (and That’s Okay)
Let’s be real: VHS isn’t coming back. Dos Santos knows this. But that’s not the point. The point is to carve out a space for those who refuse to conform. What makes this movement so powerful is its unapologetic niche-ness. It’s saying, ‘If you’re willing to go out of your way, if you’re willing to be a little crazy, there’s a community here for you.’
From my perspective, this is the future of art—not in mass appeal, but in deep, meaningful connections. Dos Santos isn’t just making a film; he’s building a tribe. And in an age where everything feels homogenized, that’s revolutionary.
Final Thoughts: The Bumps and Grooves of Life
As I reflect on This Is How the World Ends, I’m struck by how much it challenges us. It’s not just a film; it’s an experience, a statement, a call to action. Dos Santos is asking us to slow down, to feel the ‘bumps and grooves of life.’ In a world that’s increasingly smooth and seamless, that’s a radical proposition.
Personally, I think this is the kind of art we need right now—not because it’s perfect, but because it’s human. It’s a reminder that sometimes, the most meaningful things in life are the ones that require a little effort. So, if you’re feeling brave, dust off that VCR. It’s worth it.
