We are used to seeing how the virtual reality is shown in films such as shameful The matrixPresent virtue (a forgotten classic of the 90s) and The lawn mowerIt is really surprising to see something that potentially treats VR. In Flora Lau’s LuzWhat was premiered this week at the Sundance Film Festival, there is no larger disadvantage for VR. It is just another way for people to connect. And in the case of the two lonely leads of the film, the art gallery worker Ren (Sandrine Pinna) and pseudo-gangster Wei (Xiaodong Guo) VR serves as a life with a human connection, which could help them find peace in a world in the world Both feel driving.
Set in today’s chongqing (a city that is filled and futuristic that it appears more science fiction than real) and Paris, the characters in Luz Live us alongside technology that are familiar to us. Smartphones and only fans-like live streams with young girls are the order of the day. But the virtual reality hardware in the film inlay skiing mask glasses, pointed finger sensors that are similar to the nails of a witch-is both a step ahead and something behind it where we are today. LuzBoth the name of the film and the VR world that people visit is a fascinating artifact of the immersive reality area from a few years ago. That was before we knew that the fingering of the main entrance mode in a VR/AR headset could be like Apple’s Vision Pro.
And experience the VR world of Luz In the end, this turns out to be senseless as an escape from their real problems. Ren tries to connect with her stepmother Sabine (the legendary Isabelle Huppert), an emotionally distant Paris gallery owner who avoids any help for a potentially fatal disease. Wei tries to connect with his alienated daughter FA again, which he can only see anonymously over this livestream mentioned above.
The action strands of the lead cross during a Hunting expedition in the game for a mysterious neon shrew, which apparently comes closest "Win" Luz. Wei and ren reluctantly combine, and finally you will find ways to heal your emotional wounds. It is a fascinating concept, although we don’t spend enough time with both characters that depend on VR to really sell their relationship.
Luz Do not try to deliver a complete CG VR world like Already player one (Thank God), instead we see a hyperstylized version of the real world with a wealth of neon lights, floating particles and characters that would go as they would go shortly before the comic-Con. Of course, it is an easier way to convey VR, but the film also shows a version of the technology that is practically identical to the real world. If VR were really so immersive, why should you even deal with real connections? (Stylistically it reminds me of me Spirit in the shell Director Mamoru Oshii forgotten Polish science fiction film, AvalonWhich also examined how people can redefine themselves in a VR simulation.)
While Lau makes great efforts to create beautiful VR images, the film really needs more time for its two leads to sit down and talk to each other instead of closing emotions while stare at the distance. With just an hour and forty -two minutes, there is plenty of space for more characteristics. But at least we have some fascinating conversations between Ren and Sabine, whereby Huppert is their typical charming self. (Perhaps the most incredible aspect of the film is that Sabine, a hip presence in the visual art scene, did not try VR until Ren convinced. We have been seeing artists for installations since 2016, so it is far from a new concept.)
Luz is about to be a great film with its strong performances and confident -composed cinematography. But either by restraint or weak script, we don’t always have a feeling of how the leads relate to the world or what they think of each other. The overall approach feels too cold and far from a film, which ultimately is the rediscovery of the human connection.
This article was originally on Engadget at https://www.engadget.com/ententainment/tv-movies/sundance-premiere-luz published -World -140005020.html? SRC = RSS
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