“Anticonfluentialism is an artistic philosophy and postmodern film and literary movement coined by American author David Foster Wallace, who presents it as the invention of the fictional filmmaker James Orin Incandenza Jr., in Wallace's 1996 novel Infinite Jest.
Endnote 61 of the novel describes it as follows:
An après-garde digital movement, a.k.a. ‘Digital Parallelism’ and ‘Cinema of Chaotic Stasis,’ characterized by a stubborn and possibly intentionally irritating refusal of different narrative lines to merge in any kind of meaningful confluence.
In simpler terms, anticonfluentialism is when a film or book plot has several separate story lines and points of view, which the reader is given to expect to intersect eventually, joining a greater centralised plot in the "big picture" of the setting, but instead these subplots never intersect at all, and their characters never meet. This idea exists in defiance of the narrative tendency to coax readers to willingly suspend disbelief at the unlikelihood of a given set of characters encountering one another, because it is normalised in literature that it is narratively necessary for all subplots in a story to converge on one eventual arch-plot.
It should be noted that the intentional "near miss" of two characters encountering each other is not an anticonfluentialist subversion of expectations, if their failure to encounter each other still results in a unified plot which is caused by the actions of both characters, and affects the interests of both characters at a later time. A plot is only anticonfluential if subplots genuinely never unify into any clear arch-plot affecting each other or caused by each other, even indirectly.”
Iron Nader.