Post-credit scenes: results for “tag: algorithm”

Poster for Live Free or Die Hard (2007), awaiting its first vote.

John McClane is back and badder than ever, and this time he calls on the services of a young hacker in his bid to stop a ring of Internet terrorists intent on taking control of America's computer infrastructure.

Film artwork for The Gig Is Up (2021), no verdict on the credits.

A very human tech doc, uncovers the real costs of the platform economy through the lives of workers from around the world for companies including Uber, Amazon and Deliveroo. From delivering food and driving ride shares to tagging images for AI, millions of people around the world are finding work task by task online. The gig economy is worth over 5 trillion USD globally, and growing. And yet the stories of the workers behind this tech revolution have gone largely neglected. Who are the people in this shadow workforce? It brings their stories into the light. Lured by the promise of flexible work hours, independence, and control over time and money, workers from around the world have found a very different reality. Work conditions are often dangerous, pay often changes without notice, and workers can effectively be fired through deactivation or a bad rating. Through an engaging global cast of characters, it reveals how the magic of technology we are being sold might not be magic at all.

Image for [LOOM] (2025), a film with no post-credit data.

Against her wishes, Norah receives a departed loved one's data vault, allowing her to playback all the stored memories on a paired device. Norah relives their most vulnerable moments together, trying to understand why life took the turn it did.

Coded Bias (2020) poster image. Zero votes so far.

Exploring the fallout of MIT Media Lab researcher Joy Buolamwini's startling discovery that facial recognition does not see dark-skinned faces accurately, and her journey to push for the first-ever legislation in the U.S. to govern against bias in the algorithms that impact us all.

Is Your Smartphone Spying On You? (2026) poster. The count is still zero.

Alexis Conran explores the claims that smartphones and tech companies might be listening in on users and collecting a vast amount of personal data. How do our phones seem to know everything?

Image for Gatekeepers (2024), a film with no post-credit data.

After signing up for a literal elevator pitch, a screenwriter grapples with the conflicting advice from three very different producers.

Poster for Everything I Saw Was Meant for You (2026). No votes yet on whether it has a post-credit scene.

“Everything I Saw Was Meant for You” is a film seen through the screens of others. Recorded in public spaces, it follows the circulation of sounds and images carried by devices that increasingly frame everyday life. The film takes the logic of the endless feed as its editing structure: an open-ended cinema that reshapes itself, where sonic fragments appear, disappear and reconnect as attention drifts. Each screen leads into another stream that pays out in seconds, then spins again.

1194D (2013). Nobody has said whether there is anything after the credits.

1194D is originally a tweak of 115C8, one of the “Algorithmic Creature” series based on recursive triangle subdivision. The idea and complexity of the work started to go beyond the initial expectation after it was decided to experiment with multiple “creatures” co-existing within the environment.

Consentir à (2025) poster image. Zero votes so far.

An actress finds herself trapped by an algorithm that hijacks extracts from her films for distribution on porn sites. After months with no help from anyone, she decides to regain control of her own story, using her imagination to heal and reclaim her identity.

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