Girish Shambu’s New Cinephilia focuses on the new form of the concept of cine-phile, which emerged in France after the Second World War, in today’s digital environment. Throughout the book, Shambu reconceptualizes the figure of the cinephile in light of today’s circumstances, challenging the fixation on a certain geographical region (continental Europe), a certain historical period (the 1960s and ’70s), and a certain type of film (art films). Drawing upon many writers and their ideas, the author describes the new cinephile as a public political actor with different tastes who is multi-voiced, multi-colored, non-fixed, and sensi-tive to differences, and who is now spread across the world. Shambu empha-sizes that internet cinephiles express their opinions about movies in different ways, not only by writing, but also by playing with the sounds and images of the movies, producing audio-visual texts, and casting doubt on the number of likes films receive on social-media platforms like YouTube, Facebook, Twitter, Vimeo, Tumblr. For this reason, it is possible to see the book as a democratically conceived intervention that challenges and seeks to decolonize the established assumptions in film theory.