n the text, we analyze the effects and guidelines of the experimental film Don’t Think It Will Ever Pass: 25. 4.–26. 1. (Ne misli, da bo kdaj mimo: 25. 4.–26. 1., 2023) by Tomaž Grom and the existential and ontological questions about humans, technology and death that it gives rise to. The film evokes both anxiety and sublime pleasure, which probably depends on one’s point of view. We wonder about the origin of its effects between the creator and the audience. We place it in the spiritual-historical condition of Western post-secularism.

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