This study examines the aesthetic and epistemological position of forgetting in cinema within the context of increasing data production and archiving practices in the digital age. Today, memory is increasingly externalized through digital devices and artificial intelligence systems; this condition reveals a new form of forgetting referred to as “digital amnesia.” The aim of the study is to examine how cinema reconfigures a new aesthetic and affective experiential space through forgetting rather than remembering. In this regard, the films Eternal Sunshine of the Spotless Mind (Michel Gondry, 2004) and After Yang (Kogonada, 2021) were selected as the cases for analysis. The study adopts a qualitative research design based on thematic content analysis and narrative and temporal structure analysis. The findings indicate that human memory is represented through a traumatic and fragmented aesthetics of forgetting, whereas artificial memory is represented through a systematic, silent, and archival mode of forgetting. In this respect, the study demonstrates that, in the digital age, cinema shifts memory away from a remembrance-centered narrative and repositions forgetting as an aesthetic and affective field of experience.