The VHS Revival: A Manifesto for Human Creativity in the Age of AI
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 heard about Robert dos Santos’s This Is How the World Ends, the first straight-to-VHS movie in two decades, I wasn’t just intrigued; I was provoked. What compels someone to make art so inaccessible in an era of instant streaming? Personally, I think it’s a middle finger to the algorithms—a reminder that humanity thrives in the friction, not the convenience.
Why VHS? Because Imperfection is Human
Let’s be clear: VHS is a terrible medium. The image 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 allure of imperfection. What makes this particularly fascinating is how it flips the script on modern consumption. Streaming services spoon-feed us content; VHS demands effort. You need a VCR, a tape, and the patience to rewind. It’s not just watching a film—it’s an experience.
From my perspective, this is a rebellion against the passive way we engage with art today. Dos Santos is saying, “If you want this, you have to work for it.” And in that effort, there’s a deeper connection. It’s like the difference between scrolling through Instagram and holding a physical photo album. One is fleeting; the other is intentional.
AI vs. Humanity: The Battle for Meaning
Dos Santos’s disdain for AI is no secret. He believes that if anyone can do something, it loses its value. What many people don’t realize is how this ties into the film’s theme of humanity’s end. The movie’s apocalypse is caused by AI, but the real-world parallel is subtler: if creativity becomes automated, what’s left for us? Dos Santos’s VHS release is a statement—a physical, tangible one—that human art requires human effort.
This raises a deeper question: are we outsourcing our souls to machines? When I think about it, the convenience of AI-generated content feels hollow. A FIFA World Cup without players? A reality show scripted by algorithms? It’s not just unwatchable—it’s unhuman. Dos Santos’s film, with its deliberate imperfections, is a counterpoint to that sterility.
Nostalgia vs. Resistance: Why VHS Resonates
The VHS revival isn’t just about nostalgia, though that plays a part. Remembering video stores and late-night rentals is comforting, but it’s also a critique of how we’ve surrendered control. Streaming platforms own the archives now, and they decide what stays and what goes. One thing that immediately stands out is the power of ownership. A VHS tape is yours. It can’t be deleted or buried in a submenu.
But there’s more to it. Dos Santos’s love for vinyl, for example, isn’t just about sound quality—it’s about commitment. When you put on Led Zeppelin IV, you’re in it for the long haul. No skipping tracks, no shuffling. If you take a step back and think about it, this is a metaphor for how we consume art today. We binge, we skip, we discard. VHS forces you to slow down.
The Compromise of Being Human
Here’s the irony: This Is How the World Ends is visually stunning. The desert scenes, the pink clouds, the sand’s texture—it’s all breathtaking. But on VHS, much of that beauty is lost. A detail that I find especially interesting is how Dos Santos embraces this compromise. He knows the film will look better on Blu-ray, but that’s not the point. The point is the experience.
This reminds me of life itself. We’re always compromising, bumping up against limitations. Dos Santos isn’t just releasing a film; he’s inviting us to embrace the messiness of existence. What this really suggests is that art isn’t about perfection—it’s about connection. And sometimes, that connection requires sacrifice.
The Future of Niche: Why This Matters
Will VHS ever go mainstream again? Of course not. But that’s not the goal. Dos Santos’s strategy is paying off because it’s tapping into something deeper: the desire to belong to a tribe. The subreddit r/VHS, the limited-edition releases, the Instagram messages from fans buying VCRs—these are acts of defiance. In my opinion, this is the future of art. Not mass appeal, but passionate niches.
What’s truly inspiring is how Dos Santos is turning limitations into strengths. By making his film hard to watch, he’s made it unforgettable. If you take a step back and think about it, this is the essence of creativity: finding meaning in constraints.
Final Thoughts: The Bumps and Grooves of Life
As I reflect on This Is How the World Ends, I’m struck by its duality. It’s both a film and a manifesto—a call to arms for human creativity in an automated world. Dos Santos is asking us to participate, to feel the bumps and grooves of life, instead of just letting it happen.
Personally, I think this is more than a marketing gimmick. It’s a philosophy. In a world where AI threatens to make everything effortless, Dos Santos is reminding us that effort is what makes us human. So, will I buy a VCR to watch his film? Probably not. But will I think about it every time I mindlessly scroll through Netflix? Absolutely.
And maybe, just maybe, that’s the point.
