"In the largest cinema at the Venice film festival, guests gather for the premiere of Frankenstein, Guillermo del Toro's lavish account of a man who dared to play God and created a monster. When the young scientist reanimates a dead body for his colleagues, some see it as a trick while others are outraged. It's an abomination, an obscenity, shouts one hide-bound old timer, and his alarm is partly justified."
"Since 2017, it's been home to Venice Immersive, the event's groundbreaking section dedicated to showcasing and supporting XR (extended reality) storytelling. Before that it was a storage facility, before that a plague quarantine zone. Eliza McNitt, this year's jury president, remembers the time when work on the exhibits had to be paused because the builders had uncovered human bones in the ground."
Guests gather in Venice's largest cinema for Frankenstein's premiere, where reanimation provokes outrage and warnings that technological breakthroughs open Pandora's box. Behind the main venue, the ruined island Lazzaretto Vecchio houses Venice Immersive, a section dedicated to XR storytelling since 2017. The site shifted from storage to a plague quarantine, and builders once uncovered human bones, creating a haunting connection between new media and the past. The island features 69 monsters, from walk-through installations to virtual headset worlds. Concerns arise about immersive art being conflated with AI, and industry fear centers on the misconception that a simple prompt can automatically produce a finished movie.
Read at www.theguardian.com
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