When the horror film “Unfriended” came out in the year of 2015, it came across more or less like a gimmick than a genuine movie lacking subtle creational elements. The catch is that the entire movie takes place on the screen of a computer, with audiences exploring the universe from a first-person perspective. Essentially started as a movie subgenre, desktop movies are fondling many obscured facets of horror and thriller storytelling experience endowing the sense of realism. The concept became popular at the end of the previous decade with the growing impact of the internet and its popularity, but its origins can be traced back to the advent of found footage corners. Producer Timur Bekmambetov has made a significant contribution to developing about fourteen of these movies and is regarded as the father of such cinematic experience.
Contemplating a story unfolding on a laptop can be chillingly palpable, cinematic geography accessible to practically every watcher who experiences it and thus all the more unnerving. This topography also loans itself to every day online and technological addictions in which we usually fascinate. We as audiences spend a great deal of time browsing content and there is a certain comfort in this. The acquaintance of most of these territories we inhabit online invites surprising complicity. Moving onward, it’s soothing to fathom how to the point contemplations of our surfing experiences could evolve to become more regularly melded into a movie, especially as viewers may opt to watch flicks online rather than in auditoria. The computer screen as a fresh canvas for storytelling has now become a new convention. Films have moved towards a more pragmatic narrative of the ubiquity of digital statements and technology in our everyday spirits in a way that genuinely reverberates with audiences.
Instead of parking spectators as strangers merely discerning a character interacting with a screen, movies like “Searching” are rather persuading us to be immersed in witnesses to characters’ internal digital existences. And by pulling us into the sentiments that sanction digital entertainment, we can be pulled closer to the cozy details of identity while discovering our own digital patterns in the cycle.