It’s time to start caring about “VR cinema,” and SXSW’s stunners are proof
My pick for SXSW 2019’s best VR film, Metro Veinte, asked viewers to sit in wheelchairs while they watched the 18-minute film. [credit:
Sam Machkovech ]
AUSTIN, Texas—You may love, hate, or shrug at the idea of virtual reality, but one niche is still unequivocally devoted to the format: film festivals. The reasons aren’t all great.
Because VR usually requires one-at-a-time kiosks, it invites long lines (which film festivals love for photo-op reasons). These films also favor brief, 10-15 minute presentations, which are the bread-and-butter of the indie filmmaking world. And the concept reeks of exclusivity—of the sense that, if you wanna see experimental VR fare, you need to get to Sundance, Cannes, or SXSW to strap in and trip out.
But—seriously, hear me out—VR filmmaking at its best replicates the experience of live theater in a really accessible way. (I’ve been saying this for years.) You can’t watch something like Hamilton on DVD and expect the same impact. And when a VR “film” is done right, with smart technical decisions at play, it really meets (or, sometimes, exceeds) Broadway’s best without requiring a flight to New York or a ticket lottery.