With the dominance of social media and streaming services, contemporary cinema is gradually transforming into a product of a novel social cybernetics that reflects a radically changed relationship between the individual and society. In films by directors such as Wes Anderson, Greta Gerwig, Mia Hansen-Løve, Giorgos Lanthimos, Ruben Östlund, Quentin Tarantino, Joachim Trier, or Athina Rachel Tsangari, a new economy of perception is currently emerging, shaped by the Internet as a defining socializing experience. Their gaze no longer focuses with curiosity or a desire for knowledge on an external reality, but rather on a repository of inherited images that have been stripped of their historical and societal significance. Cinema, which once offered society the opportunity to examine itself and the Other through the shock of technologically mediated experience, is transforming in these films into a mere mirror of the self, into the experiential material of a narcissistic society. Film has become the propaganda of a world without an outside.