That unexpected week in NY
Sometimes in life, unexpected things happen, things that are out of the ordinary and beyond our control. Things that we cannot explain, but that make us live magnificent experiences that will crystallize into indelible memories. But in this case, there is a mastermind behind all of this, a person very dear to me who played the role of deus-ex-machina during my week in New York, and to whom I will always be grateful...grazie C.
Traveling to the other side of the world to reconnect with familiar faces and catch up on how things are going—whether there's reward with a recently completed project or listening to a new visionary project in its embryonic stage—is, for me, extremely engaging, a vital source of inspiration, food for thought.
Each day, after the exhibition day concludes in the late afternoon, the interactions with old or new people don't end. Naturally, these conversations continue on the streets of New York, taking you one day to a basement in Soho and the next to a villa in Brooklyn for the inevitable exclusive parties that complete the event’s picture. The festival atmosphere is one that’s very close to magic, or at least, that’s what the memories of a younger Aimone traveling the world tell me.
It’s undeniable that alongside these passionate dialogues about immersive media and the awareness of being part of a pioneering movement, there’s also a significant component of opportunism and politics aimed at securing funding for one's next project... and in many cases, it's a matter of personal connections and sympathies. But that's okay, it’s part of the game... "That's the life, baby. The life! And there's nothing you can do about it. Nothing!" to reinterpret a famous quote from "Deadline - U.S.A" (1952)
Tribeca Immersive 2019
This is what I wrote at the time to share my experience with others.
By its very nature, the Tribeca Film Festival symbolizes rebirth and a forward-looking perspective. It's no surprise, then, that the future often discussed—characterized by virtual and augmented reality—is already unfolding at Spring Studios on Varick Street.
Now in its fifth consecutive year, the festival's "Tribeca Immersive" section aims to highlight projects produced in the past year that explore new forms of communication through immersive technologies.
Each project takes a different approach to technology, focusing on specific themes from social issues to entertainment, journalism, and pure visual experimentation.
These experiences are the collaborative efforts of artists, filmmakers, theatre directors, game designers, journalists, podcasters, and others—whom, for lack of a better term, we can call "creators."
Curated by Loren Hammonds, the selection shows that we're still in a period of total experimentation and blending of media. It's a time where anyone with a story to tell finds fertile ground for innovation, succeeding in narratives never before explored.
Entering the immersive section, visitors encounter 33 experiences divided into two subsections: "Cinema 360" and "Virtual Arcade." The former allows seated viewing with a 360° perspective using "three-degrees-of-freedom" (3DoF), while the latter enables visitors to move and interact within virtual space using headsets with "six-degrees-of-freedom" (6DoF).
Experiences in the "Virtual Arcade" are set in custom-designed settings that immediately convey specific atmospheres to visitors (similarly to what we realized on a smaller scale at MFF 18). This choice, while limiting distribution outside of festival, museum, or theme park contexts, grants creators the freedom to enhance viewer immersion.
One standout installation, resembling a giant luminous jellyfish, hosts "Drop in the Ocean"—an experience for four people simultaneously, aiming to emotionally engage visitors with urgent issues like ocean pollution. Afterward, visitors can actively contribute to related campaigns.
Two other notable experiences, "Wolves in the Walls" and "Bonfire," allow close, physical, and emotional interaction with main characters. This deep engagement is facilitated by rudimentary intelligence imbued by their creators, enabling active participation and responsive interactions akin to human relationships.
"Ayahuasca," an infusion from Amazonian plants known for its psychedelic effects, aims to simulate through immersive media the sensations and perceptions of those who have undergone this transcendental experience. Unlike traditional virtual reality, which avoids inducing "motion sickness" (conflict between visual perception and vestibular system), "Ayahuasca" cleverly uses hypnotic sounds and images to enhance realism.
Several projects blend "Immersive Theatre," popular in Anglo-Saxon culture, with Virtual Reality, yielding unexpected results. For instance, "The Collider" poses the question: what would you do if you controlled another person? This experience invites two participants into the same space—one visually impaired by headphones, the other controlling their actions via earpiece instructions.
Immersive realities also offer unfiltered storytelling on urgent issues, spanning journalism to social commentary. "Cinema 360" includes projects like "Accused No.2 Walter Sisulu," "Girl Icon," "Mercy," "12 Seconds of Gunfire," and "Children Do Not Play War," all aiming to raise awareness.
In the "Virtual Arcade," "Common Grounds" uses immersive techniques to highlight the struggles of residents in Aylesbury's public housing estates. Political, social, and human dynamics are universal themes found in both Italian and global contexts.
Most selected projects are international co-productions, with public and private entities contributing to funding and shared success. Italy is also fostering projects experimenting with immersive technologies, such as through the Venice Biennale's "College Cinema - Virtual Reality" grant, supporting creators in showcasing innovative works.
As we await a self-sustaining market, pro-bono support remains crucial for creators to explore new frontiers and enrich expressive media. This year's Tribeca Film Festival immersive section has not only met but exceeded expectations, serving as a key indicator of growth in this dynamic field.
More memories in random order
- The proverb "Never meet your heroes" became crystal clear to me after this experience.
- Spending 100$ to watch Coppola's masterpiece "Apocalypse Now" at the Apollo Theatre...with Coppola and Soderbergh in conversation right after the screening. The most fun part was Coppola's exceptional marketing ability of selling us such screening as a "Premiere" since none ever seen this version of the movie with this specific audio system. The movie is 40 years old but sold as a premiere, chapeau Francis!
- Coney Island.
- I tried the Magic Leap for the first time.
- A multi-user immersive theatre piece experienced with a quite famous Guggheneim curator...followed by a coffee.
- Jaron Lainer talk.
- I believe I spotted an Emmy Award just lying around on a table during a party.