Based on the Deleuzean and Simondonian interpretation of Lem’s Solaris as the issue of contact with what goes beyond the anthropocentric finiteness, the article formulates a category of “solarism”, useful in diagnosing the problems of contemporary philosophy and allowing to capture specific configurations of selected phenomena of culture and art. The article makes a preliminary recognition of the capital-centric contemporaneity and then follows Lem’s reception in the science of media and culture. These deliberations become a context for the analysis of Solaris, which leads to capturing material traits of solarism, understood as a-humanism and inhumanism. In turn, this specific understanding of logic behind Solaris sets the direction for the analysis of the phenomena of contemporary cinema, using David Lynch’s Twin Peaks The Return and Alex Garland’s Annihilation as an example.