Films and video games have been moving closer together for years now, including open world games that mimic cinematic storytelling and videos that include viewer input in the style of a choose-your-own-adventure novel. The mechanics of the latter have often been intrusive, however, making viewers click a link or—with the recent flowering of virtual reality—direct their gaze at an icon indicating their narrative selection. While this can result in compelling products, like the 2017 VR film Broken Night, many filmmakers in the space miss the immersion of a traditional film and want to mask the more game-like control mechanics in […]

Since 1895 films have had at least two distinct advantages over live theater: the ability to be reproduced and watched at times and in places where the action did not actually take place, and the ability to direct the audience’s attention to precisely what the filmmakers desired. Conversely, after more than a century of cinema’s evolution, these have become precisely the reason that theater remains vibrant: it’s live and it’s present, and audiences can look wherever they want. Now virtual reality is mixing these experiences in a new way. While still prerecorded and edited (generally), it expands the audience’s range […]

Perhaps the most innovative virtual reality work I’ve seen this year has been Lisa Jackson’s Biidaaban: First Light, which premiered earlier this year at the Tribeca Film Festival. Jackson, an Anishinaabe artist working out of the National Film Board of Canada, has spent years exploring issues of First People identity and language in her work, which includes documentary and fiction film, animation, installations, and other media; in fact, Biidaaban: First Light was designed as a corollary to a multimedia installation. The film’s narrative is minimal. It could be described as a post-apocalyptic scenario in which the viewer witnesses how nature has reclaimed […]

For a few brief shining years Howard Ashman was one of the most influential filmmakers in Hollywood. With the composer Alan Menken he had already created an Off-Broadway hit with Little Shop of Horrors, and, at Walt Disney Animation Studios in the late 1980s, he was a pivotal force in creating The Little Mermaid, Beauty and the Beast, and Aladdin—films that galvanized an industry-wide animation renaissance—as not just a lyricist but a producer, writer, and director. He died of AIDS-related complications in 1991, however, while the latter two of these films were still in production: Beauty and the Beast was dedicated “to our friend Howard, who […]

If you don’t know Michael Muller‘s name, you do know his work. His posters for Deadpool 2 are the most creative bit of film advertising in the current market, and he’s also shot artwork for Marvel films like Captain America: Civil War, Dr. Strange, and Guardians of the Galaxy, Vol. 2 as well as dozens of other films, innumerable portraits, album covers and ad campaigns for brands like Nike and Sony. But in 2006 he began training his camera on a very different subject, wild sharks, and since then shark photography and marine environmental activism has become his primary cause. His still photos of great whites, hammerheads, and […]

Ariel Marx is a film composer to watch. It’s early in her career, but her credits already include an impressive variety of dramas and comedies on both film and television. She’s assisted on projects like Wonder and Amazon’s Z: The Beginning of Everything, and her own scores have been in the films West of Her, By Jingo, and The Tale, which premiered at Sundance earlier this year and runs on HBO next month. She’s even worked in augmented reality with Armen Perian’s The Angry River, a piece about human traffickers that changes with the direction of the viewer’s gaze — an impressive challenge for a traditionally linear form […]

With the release of Coco last year Pixar created yet another film that won over critics and audiences with rich visuals and a compelling story; it’s earned over $200 million so far and just took home the Best Animated Feature Oscar. Pixar wanted to use the property to push forward into new territory, though, and thus used Coco as the vehicle for its first virtual reality experience. To do so they tapped Magnopus, a Los Angeles-based VR/AR company that had previously produced Moana‘s virtual reality product for Disney. The result is Coco VR, a visually arresting gaming experience that also constitutes Oculus’s largest foray into social VR thus far. […]

On the heels of Sundance and its New Frontier section every year comes transmediale, the Berlin-based festival more singularly focused on interactive film, video art, transmedia, virtual reality, and other forms of new media. Founded in 199, transmediale also excels at maintaining a clear focus on how these new works engaged with broader societal issues; traditional artwork, panel discussions, academic papers, and other offerings are always an integral part of the proceedings along with films and videos. This year’s theme is “face value.” With forces like globalization and feminism in stark public contrast with nationalistic authoritarianism and racial inequalities in […]

For years the space at 226 West 44th Street in Manhattan was known as Discovery Times Square; it served as a tourist-oriented gallery space that housed temporary exhibits that alternated between artifacts like the Dead Sea Scrolls or Chinese terracotta warriors and contemporary pop—and film—culture like The Avengers, Harry Potter and The Hunger Games. By and large these relied on physical items and held little relevance to those interested in film and video. On October 6, however, the space reopened as National Geographic Encounter, and the first exhibit there, Ocean Odyssey, relies entirely on interactive video, motion-tracking gaming technology, 3D animation and intricate […]