Virtual Reality (VR) represents a modern continuation of humanity’s long-standing fascination with surrealism. For millennia, artists and creators have sought to break free from the constraints of reality, and in recent years, this desire has found expression in movies and television. Whether through dramatic storytelling or science fiction, these works reflect our deep yearning to transcend the ordinary and explore the unknown. VR offers an immersive, dreamlike experience that surpasses traditional media, perfectly aligning with this evolving human need.
As a groundbreaking innovation, the 74th Venice International Film Festival introduced a dedicated VR competition section this year. This marks a significant milestone, showing that VR films are gaining recognition as a serious and innovative form of cinematic expression. With the growing demand for more immersive experiences, VR is no longer just a novelty—it's becoming a central part of the film industry's future.
VR films, also known as virtual reality movies, utilize computer systems and sensor technologies to create fully interactive 3D environments. These films simulate multiple senses—sight, sound, touch, even smell and taste—allowing viewers to feel completely immersed in a 360-degree world. Unlike traditional cinema, where the audience passively watches, VR enables users to become active participants, exploring and engaging with the story in new and exciting ways.
The film industry, a cornerstone of the entertainment world, has seen tremendous growth since its inception. The rise of high-tech innovations like VR is bound to reshape how we create and consume movies. Many directors are already experimenting with this new medium, seeing it as both a challenge and an opportunity. For example, Oscar-winning director Steven Spielberg has expressed interest in creating family-friendly VR films, while Chinese director Zhang Yimou has also mentioned his intention to explore VR in the future. However, Spielberg views VR as a “dangerous medium†due to its 360-degree perspective, which can dilute the director's control and reduce the importance of traditional cinematography.
At the 74th Venice Film Festival, the inclusion of a VR competition marked a historic moment, as it was the first time a major international film festival officially recognized VR as a legitimate category. During the event, audiences had the chance to experience VR through interactive videos, giving them a glimpse into the potential of this emerging medium.
One standout piece was the VR experience "Dispatch," which allowed viewers to witness a crime scene from multiple perspectives simultaneously, making them feel as if they were right in the middle of the action. Another example was "Snatch," an interactive VR game where viewers could participate in criminal activities, solving puzzles and influencing the storyline. These experiences not only provided visual immersion but also encouraged physical engagement, pushing the boundaries of what a film can be.
A total of 22 VR films were showcased at the festival, including four Chinese productions: "Self Travel," "The Old Man Who Picks Up Dreams," "Window," and "Home in Lan Ruo Si." Among them, "The Dream of the Elderly" has already gained attention in China. This 11-minute film follows a garbage collector and his dog, highlighting themes of discarded dreams and personal restoration. It can be viewed through various VR apps, offering a unique and emotionally resonant experience.
Despite its promising potential, VR filmmaking is still in its early stages. While technology is improving, many challenges remain. High production costs, complex workflows, and technical limitations are major hurdles. A five-minute animated VR film can cost hundreds of thousands or even millions of yuan, and the production process is often lengthy—some projects take over a year to complete. Moreover, issues such as narrative structure, camera techniques, and hardware compatibility need to be addressed before VR can truly reach its full potential.
Another concern is user comfort. Prolonged use of VR headsets can cause eye strain or motion sickness, leading most current VR films to be limited in length—typically under 20 minutes. As the technology evolves, these issues will likely be resolved, paving the way for more ambitious and immersive storytelling experiences.
In conclusion, while VR is still in its infancy, it holds immense promise for the future of film. With continued innovation and investment, it may one day revolutionize how we tell stories and experience entertainment.
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