In a striking move against the tide of digital consumption, filmmaker Robert dos Santos is set to release his upcoming feature film, “This Is How The World Ends,” exclusively on VHS. This marks the first worldwide straight-to-VHS film debut in two decades, aiming to reignite a passion for physical media in an era dominated by streaming services and AI-generated content.
Leading the creative project under the banner of And Films, dos Santos functions not only as the director but also as the writer, bringing this audacious vision to fruition. Traditionally viewed as a label of failure for filmmakers—particularly in the 1990s—the term “straight-to-VHS” is being redefined through this innovative release. “Straight to VHS used to be a slur in the 90s. But not anymore. Today it represents that your film is crafted with intention, and made for those who truly love films,” dos Santos stated, establishing the ethos behind the project.
Against the backdrop of algorithm-driven content and a wealth of digital options, the creators of “This Is How The World Ends” are dedicated to restoring the personal and tangible experience of cinema. They assert, “In the digital world of AI, streaming, and downloads, we’ve lost touch with what it means to fall in love with cinema.” This emphasis on physical media serves not only to bring back the experience of ownership and the joy of displaying a film on a shelf but also aims to enhance the communal viewing experience often overshadowed by modern consumption habits.
The film’s release is scheduled to coincide with International VHS Day on June 7, 2026, and aims to appeal to collectors and cinephiles alike. The title, “This Is How The World Ends,” encapsulates the precarious state of both the film industry and society while reflecting the creative potential in times of transformation.
Through this exclusive VHS release, dos Santos and his team intend to create a wider movement within independent filmmaking that embraces physical formats as a significant and intentional medium for storytelling. As dos Santos emphasizes, “This is a film that is made by humans, for humans. This is cinema you can hold, touch, and most importantly own.” This ambitious project seeks to prompt audiences to reassess their relationship with film in a rapidly evolving cultural landscape.
