Traditional cinema takes center stage at the Venice film festival, but behind the main site lies a world of exciting and unconventional delights. If you hang a right past the PalaBiennale theatre, a boat will transport you to Lazzaretto Vecchio, a small island that is home to the festival’s Venice Immersive section. Although the boat ride is only two minutes long, it feels like a journey to another dimension.
Known as “Immersion Island,” Venice’s dedicated space for emerging technologies and storytelling, is a hub of innovation. The main competition features 28 XR (extended reality) productions, accompanied by 24 “world gallery” tours hosted by VRChat. These exhibits range from interactive movies to 360-degree videos and even standalone installations reminiscent of modern art galleries. The medium itself is still in its infancy, with the language surrounding it constantly evolving. The works on display defy categorization as films, games, or art displays, but instead offer immersive experiences, according to the woman at the front desk.
With a program as diverse as this, it’s impossible to cover every film or exhibit. However, over the course of several days, I find myself drawn back to the island, exploring its small curtained pods and donning headsets to experience the various creations. Each visit is a surprise, as you never know what you’ll encounter. Among the standout works are Marcio Sal’s Finally Me, a joyous animated film about a Brazilian character finding freedom through music, and Juanita Onzaga’s Floating With Spirits, a dreamlike journey through mystical landscapes that pays homage to nature. However, my personal favorite from the opening days is Craig Quintero’s Over the Rainbow, a captivating 360-degree experience with an exotic and slightly unsettling atmosphere.
One exhibit that caught my attention is Felix Lajeunesse and Paul Raphael’s The Seven Ravens. Developed as part of Jim Henson’s The Storyteller franchise, it combines an Oculus headset with a physical book, blurring the line between virtual and tangible storytelling. The narrative itself is simple, reminiscent of a children’s fairytale, which seems to be a common characteristic of early VR experiences. Many of these stories lack complexity and nuance, but there’s a certain charm to their simplicity that resonates with audiences.
Occasionally, navigating this medium can be challenging. I find myself stuck in Alexis Moroz and Balthazar Auxietre’s interactive experience Another Fisherman’s Tale, frantically waving my hand controls as the narrator repeats the same line over and over. In the cinema, we can hide in the darkness, but here on the island, we are exposed, enclosed within our headsets, lost in a virtual world. We spin around, unaware if anyone is observing our actions from behind the thin veil of the headset.
The unfamiliarity and fear of looking foolish often dissuade some regular attendees of the Venice film festival from venturing to the island, reminiscent of how their great-grandparents might have dismissed the cinematograph. However, those who take the risk often find themselves returning for more. New experiences can be intimidating, akin to exploring the unknown or taking a leap from a diving board. Yet, with each leap of faith, it becomes more natural and familiar.
In summary, Venice’s Venice Immersive section offers a unique and captivating exploration of emerging technologies and storytelling. With its array of XR productions, interactive experiences, and captivating installations, it pushes the boundaries of traditional cinema and invites attendees to immerse themselves in a world of innovative storytelling.
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