Developments in computer and communication technologies, which constitute the starting point of concepts such as decentralization, virtuality, simulation, augmented reality and metaverse, have also brought new forms of expression and designs in art to the agenda. In addition to the decentralized data architecture and metaverse areas that emerged in parallel with the development of network technologies, applications that increase the user's interaction and beleaguered experience such as virtual reality, augmented reality and mixed reality have increased their effectiveness in this field. The metaverse spaces that emerge with the cooperation of software, art and architecture offer their users a more similar life simulation of natural life through augmented reality vehicles or screens. Here, users can perform new experiences for artistic production and consumption as well as daily life practices such as socialization and communication. Metaverse spaces, which include the design of a three-dimensional virtual universe that can be supported by augmented reality, are free from all the constraints of the real world as a cinematic plateau. It is seen as a great advantage that the real film set can create a cinematic work without expensive equipment such as cameras, lights, and sound away from all the negativities of the natural shooting conditions. The fact that the production, distribution and screening of cinema works can be realized within this field brings a new understanding of decentralized cinema to the agenda. Decentralized cinema, which has begun to rise in the expanding virtual geography of the metaverse virtual space with its advantages such as virtual characters and scenes and creative space fictions, is an art form worth examining. This study focuses on the possible future transformations of cinema in terms of production and representation in the context of the relationship of virtual and augmented reality technologies with developing metaverse areas. The emergence of a new cinematic ecology; The opportunities and obstacles it provides to producers are examined with the philosophical criticism method through concepts such as virtual and augmented reality, web 3.0, metaverse in terms of audience experiences it offers for screening. As a result of the study, it was concluded that the metaverse area has many advantages in terms of the production of cinema works, democratization of the production and distribution of works, digital privacy and security for metaverse artists, and recognition of ownership for digital works of art.