Virtual Reality (VR) represents a continuation of humanity's long-standing fascination with surrealism, a concept that has captivated artists and thinkers for centuries. In recent years, surreal elements have become more prominent in films and TV shows, whether through dramatic storytelling or science fiction. These works reflect a deep human desire to escape reality and explore the unknown. VR offers an immersive, dreamlike virtual world that goes beyond the limits of real life, perfectly aligning with this yearning.
At the 74th Venice International Film Festival, a new VR competition category was introduced, marking a significant step in recognizing VR as a legitimate and innovative medium in the film industry. This move highlights the growing interest in creating fully immersive cinematic experiences. As VR technology advances, it is reshaping how audiences engage with storytelling, transforming them from passive viewers into active participants.
VR movies use advanced computer systems and sensor technologies to create three-dimensional environments that simulate multiple senses—sight, sound, touch, smell, and even taste. This allows users to experience a 360-degree environment, feeling completely immersed in the virtual world. As one of the most dynamic sectors in entertainment, the film industry is evolving rapidly, and the integration of VR is expected to revolutionize traditional filmmaking.
Many filmmakers are exploring the potential of VR, with renowned directors like Steven Spielberg and Zhang Yimou expressing interest in this new format. However, some, like Spielberg, see VR as a “dangerous medium†because it challenges the director’s control over the narrative. With a 360-degree perspective, the traditional role of the filmmaker may be diminished, requiring a complete shift in storytelling techniques.
The inclusion of a VR competition at the Venice Film Festival signals its growing acceptance within mainstream cinema. During the event, audiences had the opportunity to experience VR content firsthand, interacting with virtual worlds in ways never before possible. For instance, the interactive video "Dispatch" allowed viewers to witness a crime scene from multiple perspectives, experiencing tension and fear in real time. Another example, "Snatch," let users participate in a heist by making quick decisions that influenced the story’s outcome.
A total of 22 VR films were showcased at the festival, including four Chinese productions such as "Self Travel," "The Old Man Who Picks Up Dreams," "Window," and "Home in Lan Ruo Si." These works highlight the global expansion of VR storytelling and its increasing accessibility through various VR apps.
Despite the exciting potential, VR films still face several challenges. Production costs are extremely high, with even short animated VR films requiring hundreds of thousands of yuan in investment. The production process is also lengthy, with some projects taking months to complete. Moreover, technical limitations, such as discomfort from prolonged VR use, restrict the length of most VR content to around 20 minutes.
As technology continues to evolve, VR is poised to bring disruptive changes to the film and television industries. While there are many hurdles to overcome, the future of VR in cinema looks promising, offering a new frontier for creative expression and audience engagement.
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