Mike Flanagan’s 2024 adaptation of Stephen King’s The Life of Chuck presents a radical reconfiguration of apocalyptic imagination in contemporary cinema. Rejecting spectacle-driven depictions of collective annihilation, the film reframes the end of the world as the death of a single individual, which unfolds through a reverse-chronological narrative that aligns cosmic dissolution with neurological decline. Drawing on Walt Whitman’s transcendentalist poetics—particularly the line “I am large, I contain multitudes”—as well as Christian eschatology, post-theistic spirituality, and religion-and-film scholarship, this article argues that THE LIFE OF CHUCK (US 2024) articulates what it terms “sacred humanism”. In this framework, individual consciousness functions as a sovereign universe, memory becomes liturgical, and death signifies the extinction of an entire cosmos of meaning rather than the judgment of a soul. Through close analysis of the film’s three acts and comparative reference to other religiously inflected films, the article positions THE LIFE OF CHUCK as a significant cinematic meditation on mortality, interior sacredness, and personal eschatology in a secular age.