This chapter focuses on a particularly affective way in which global cinema is responding to the predicament of being human in the Anthropocene. In light of the dismal track record of humanism in the past and current centuries, a significant section of the world film production has engaged in decentring, precluding or entirely banishing humans from the screen. This recent crop has evolved in tandem with a non-anthropocentric turn in philosophy and film philosophy, whose ramifications are variously named anti-humanist, posthuman, nonhuman and non-correlationist, the latter based on the rejection of the Kantian principle that the world is relevant insofar as it relates to humans. Resonating strongly with realist theories of film, non-correlationist thought also chimes with the fact that cinema is inherently intermedial and acknowledges no barriers or hierarchies across the sister arts at its base, diluting the weight of human authorship, which is further challenged by the medium’s mimetic property that confounds it with real life. The chapter addresses some extreme examples from the Chinese independent film production in which the destructive culprit, Man, or the Antropotheos, including the almighty male film author, along with his cinematic alter egos, is ruthlessly eradicated via the act of fictional and real suicide. The great originality, as well as poignancy, of this crop is their recourse to bodily intermediality to blur the boundaries between art, life and death, at times of great social upheavals and existential crises. Moreover, the idea of a mysterious, seductive void located somewhere outside of the Anthropocene allows us to speculate on a non-anthropocentric mode of affect, in the form of vicarious “allure,” which is endowed with a seductive power that alludes to a thing’s mysterious depths beyond its qualities. The self-sacrificial artists in focus here, in their use of art as a way of life, are an easy prey to the vicarious allure of the chasm.