
From I–It to I–Thou: Breaking the Price Tag in Contemporary Cinema
In a world where almost everything can be consumed, priced, or traded, even our most intimate relationships risk becoming commodities. Cinema often mirrors this reality: bodies as objects, love as transaction, desire as spectacle.
Carl Rogers called this conditions of worth — the belief that “I am only valuable if…” Martin Buber called its relational shadow I–It: treating others as things to use, rather than beings to meet.
But what happens when films turn these conditions into literal flesh and money — and then, briefly, crack them open?
Fall for Me: Desire Beyond the Male Gaze
In Netflix’s Fall for Me, eroticism could easily have become voyeuristic. Instead, it pulses with rare equality. Svenja Jung and Theo Trebs are both subjects and objects of desire, equally exposed to the camera’s gaze. The symmetry resists the traditional male gaze, creating erotic tension that is mutual, vulnerable, and authentic. This is not I–It consumption, but a flicker of I–Thou: two beings meeting, seeing, and being seen.
Mickey 17: The Disposable Man
Bong Joon-ho’s Mickey 17 makes consumerism visceral. Mickey’s body is endlessly reproduced, used, and discarded — a man turned into product, his worth tied only to utility. Yet salvation arrives not from humans, but from aliens who treat him with care and reverence. They see him not as a resource, but as a person. They break the cycle of I–It and restore him to Thou. Rogers might call this unconditional positive regard: value that is not earned, but given.
Anora: Disarmed by Honesty
Sean Baker’s Anora is saturated with price tags — sex work, marriage deals, money changing hands. Anora’s worth is continually measured by transactions. And yet she is undone, not by wealth, but by honesty: a man who meets her without performance, without price. In that moment, she is no longer an It, but a Thou — a person met, not consumed.
A Shared Gaze, A Shared Humanity
All three films reveal the same tension: consumerism reduces people to conditions of worth — desirable, profitable, useful. But each also points to what breaks the cycle: care, respect, honesty, equality.
In these moments, Rogers and Buber overlap. Rogers’ unconditional positive regard and Buber’s I–Thou are cinematic twins, naming the same radical truth: that a person is valuable not because of what they offer, but simply because they are.
And maybe that is why these films resonate. In a culture of price tags, the most subversive act is still the simplest: to look at another human being and truly see them.
✨ What do you think? Have you seen moments in cinema where the I–Thou breaks through consumerism’s I–It?
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