Sundance Premiere Luz explores how VR can help us find a relationship in the real world
We are so accustomed to seeing a virtual reality depicted incorrectly in movies like Matrix. Virtue (Forgotten classics from the 90) and The mower manIt is really surprising to see something that treats VR in a potentially positive way. In Flora Lau LuzWhich premiere of the Sundance Film Festival this week, there is no big drawback to VR, it’s just another way to connect people. And in the case of the two lonely presenters of the film, the worker of the Ren (Sandrin Pina) Art Gallery and the pseudo-gangster Wei (Xiaodong Guo), VR serves as a rescue raft of the human connection, something that could help them find peace in A world where they both feel welcoming.
Situated in the modern Chongqing (a city so neon and futuristic that it looks more scientific-fantastic than real) and Paris, the characters in Luz Live with familiar technology. Smartphones and live with young girls live are commonplace. But the virtual reality hardware in the movie-goggles that resemble a ski mask, sharpened finger sensors that resemble the witch’s nails are at the same time a step forward, and slightly at the back where we are today. LuzBoth the name of the film and the people of the VR world visit, it is a captivating artifact of the immersive space of reality a few years ago. This was before we realized that finger tracking could be the main introduction mode in VR/AR headphones like Apple’s Vision Pro.
Ren and Wei are experiencing the world of VR of Luz As an escape from their problems in the real world, although this ultimately turns out to be useless. Ren tries to contact his stepmother Sabin (legendary Isabel Hupert), an emotionally distant owner of a gallery in Paris, which avoids any help for a potentially fatal illness. Meanwhile, Wei is trying to re -connect with his alienated daughter, Fa, which he can see anonymously through the aforementioned live.
Lead stories intersect during a hunting expedition in the game for a mysterious neon deer that seems to be the closest thing to "Gain" LuzS Wei and Ren reluctantly connect and eventually begin to find ways to heal their emotional wounds. This is an intriguing concept, although we do not spend enough time with the two characters who hang in VR to sell their real relationship.
Luz does not try to deliver a CG VR world as Ready -player (Thank God), instead, we see a hyperstalized version of the real world with an abundance of neon lights, floating particles and heroes dressed as if they were about to go to Comic-Con. Obviously, this is an easier way to transmit VR, but the movie also presents a version of technology that is practically identical to the real world. If VR were really so immersive, why even deal with real life relationships? (Stylistically, it reminds me Ghost in the shell Director Mamoru Oshi Forgotten Polish science fiction movie, Avalonwhich also examines how people can be redefined in VR simulation.)
While Lau is due to long distances to make gorgeous VR images, what the movie really needs is more time for the two leaders to sit down and talk to each other instead of making us emotion while stare at the distance. In just an hour and forty -two minutes there is a lot of space for more character exploration. But at least we get some intriguing conversations between Ren and Sabin, with Hupert being her typically fascinating self. (Perhaps the most amazing aspect of the film is that Sabin, the presence of the hips in the scene of visual arts, has not tried VR until Ren convict her. by a new concept.)
Luz is close to being a great movie, with its strong performances and a confidently made cinematography. But through restraint or weak scenario, we do not always have an idea how presenters treat the world or even what they think of each other. The overall approach feels too cold and distant for a movie, which is ultimately to rediscover the human relationship.
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