The article deals with a format of film narration known as “screenlife”. During the period of self-isolation, the screen media changed significantly, there emerged new forms and methods of communication with the viewer. The number of films, series and media projects in the form of “screenlife” has increased dramatically, making it necessary to analyze this segment of film production. Since in Russian-language literature only a few studies address this topic, the language of expressiveness of “screenlife” films remains poorly understood.The present paper analyses the artistic novelty of “screenlife” films. The history of the format is considered in detail starting with the instructional videos for using a certain software, filmed using the ‘‘screencast’’ technology, which were popular in the early 2000s, to modern media projects. By comparing the expressive language of these projects with classical films, the innovations of “screenlife” become apparent.Thus, for example, it is confirmed that “screenlife” films have their own diegetic space formed by the computer desktop, defining their own expressive means, such as transitions as part of the structure of minimized windows and applications in use. Such films are characterized by: the absence of actors, an ‘‘implied’’ protagonist, providing a greater degree of identification between the viewer and the character; a special production process that permits to create films at a distance and without the participation of some members of the crew; more “action freedom” for the creators, who, thanks to the “screenlife” format, can create a film using videos posted on the Internet, as well as any computer media.Features of “screenlife” films, systematized in the article, as well as the description of their methods and expressive means, will give impetus to their theoretical understanding and in future will help the practical development of this format.