This thesis explores ties between three recent films: Her (2013), Under the Skin (2013), and Ex Machina (2015). I will argue that each of these films incorporates a distinct post-cinematic aesthetic – 1) digitally rendered eco-cinema, 2) hyper-informatic cinema, and 3) transmedia – while narratively working through how bodies are becoming entangled with and porous to their increasingly affective and convergent media. Each of these films show human bodies in-becoming-with technology, both in terms of narrative (or diegesis), and the non-diegetic processes of computer-generated imagery, sonic manipulation and audiovisual or rhythmic intensification that manipulate and digitize bodies as captured by the camera. Each film thus reflexively expresses through post-cinematic affect the spatiotemporal and corporeal discontents associated with the digital shift or the “audiovisual turn” (Vernallis 2013) when humans and technology are in a moment of coevolution: bodies, space, and technology fold into each other and become equalized phenomena, tied by an increasingly reciprocal bio-digital flow.