Auntrolye

“A Genre In Function, Not In Idea”

Auntrolye is not a tone, a vibe, or a stylistic flair, it is a functioning cinematic system whose core mechanic is the complete elimination of objectivity within the narrative space. 

Where most genres, no matter how stylized, operate with an assumed camera that floats above the world, observing it from a neutral or omniscient angle, Auntrolye permits no such vantage point. There is no narrative “reality” independent of the character’s mind. What the protagonist perceives, misremembers, represses, or emotionally projects is not expressed through artistic implication, it becomes the structure of the film itself.

In Auntrolye, psychological perception replaces cinematic law. Time does not move chronologically; it flows in emotional weight. Locations are not fixed on a map but are bent by memory, significance, or fragmentation of self. The laws of the narrative world are wholly dependent on the internal logic of a single character, whose consciousness is not merely explored but becomes the framework for the story’s construction.

This does not mean Auntrolye is “abstract.” On the contrary, it is rigidly governed by what the character experiences as real, even when that experience is distorted or incoherent. The genre enforces a principle of emotional causality, meaning actions and reactions are dictated not by plot logic but by the psychological progression of the protagonist. A conversation may repeat if the character replays it obsessively. An event may disappear mid-sequence if it becomes unbearable to remember. These are not stylistic choices, they are structural laws of Auntrolye.

By its very definition, Auntrolye reconstructs cinema from the inside out. It is built not from the world as it is, but from how the mind perceives, rearranges, and survives it. That’s what makes it a genre not of theme or mood, but of pure function, a system where the narrative is only as stable as the character living inside it.