logo
'The Matrix is everywhere': cinema bets on immersion

'The Matrix is everywhere': cinema bets on immersion

France 242 days ago

This new immersive experience is designed to be a red pill moment that will get film fans off their couches at a time when the movie industry is desperate to bring back audiences.
Cosm, which has venues in Los Angeles and Dallas, is launching its dome-style screen and 3D sets in June with a "shared reality" version of "The Matrix," the cult 1999 film starring Keanu Reeves as a man who suddenly learns his world is a fiction.
"We believe the future will be more immersive and more experiential," said Cosm president Jeb Terry at a recent preview screening.
"It's trying to create an additive, a new experience, ideally non-cannibalistic, so that the industry can continue to thrive across all formats."
Cinema audiences were already dwindling when the Covid-19 pandemic broke out, shuttering theaters at a time when streaming was exploding.
With ever bigger and better TVs available for the home, the challenge for theater owners is to offer something that movie buffs cannot get in their living room.
Prestige projects like Tom Cruise's "Mission: Impossible -- The Final Reckoning" or Christopher Nolan's Oscar-winning "Oppenheimer" increasingly opt for the huge screens and superior film quality of IMAX.
But Cosm and other projects like it want to go one step further, collaborating with designers who have worked with Cirque du Soleil to create an environment in which the viewer feels like they are inside the film.
For filmmakers, it's all about how you place the cameras and where you capture the sound, said Jay Rinsky, founder of Little Cinema, a creative studio specializing in immersive experiences.
"We create sets like the Parisian opera, let the movie be the singer, follow the tone, highlight the emotions... through light, through production design, through 3D environments," he said.
The approach, he said, felt particularly well suited to "The Matrix," which he called "a masterpiece of cinema, but done as a rectangle."
For the uninitiated: Reeves's Neo is a computer hacker who starts poking around in a life that doesn't quite seem to fit.
A mysterious Laurence Fishburne offers him a blue pill that will leave him where he is, or a red pill that will show him he is a slave whose body is being farmed by AI machines while his conscious lives in a computer simulation.
There follows much gunfire, lots of martial arts and some mysticism, along with a romance between Neo and Trinity, played by the leather-clad Carrie-Anne Moss.
"The Matrix" in shared reality kicks off with a choice of cocktails -- blue or red, of course -- which are consumed as the audience sits surrounded by high-definition screens.
Shifting perspectives place the viewer inside Neo's office cubicle, or seemingly in peril.
"They're sometimes inside the character's head," said Rinsky. "The world changes as you look up and down for trucks coming at you."
The result impressed those who were at the preview screening.

Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

Disney's 'Lilo & Stitch' wins N.America box office for second week
Disney's 'Lilo & Stitch' wins N.America box office for second week

France 24

timea day ago

  • France 24

Disney's 'Lilo & Stitch' wins N.America box office for second week

So far, its worldwide take is at a whopping $610 million, Exhibitor Relations said. Maia Kealoha (as Lilo), Hannah Waddingham, Courtney B. Vance and Zach Galifianakis star, while Chris Sanders again provides the voice of the chaos-creating blue alien Stitch. "Mission: Impossible -- The Final Reckoning" -- the latest, and ostensibly last, in the hugely successful Tom Cruise spy thriller series based on a 1960s TV show -- took second place with $27.3 million in the United States and Canada. The Paramount film has made another $231 million overseas, which should help offset its massive production budget, reportedly at $400 million. Debuting in a disappointing third place was Sony's "Karate Kid: Legends," a sequel featuring Ralph Macchio -- the star of the original 1984 classic -- and action flick icon Jackie Chan, along with Ben Wang in the title role. It made $21 million at the domestic box office and another $26 million overseas. "'Legends' is trying to invigorate the story with a new Kid -- again -- but business is not strong," said David A. Gross of Franchise Entertainment Research. In fourth place was Warner Bros. and New Line's horror film "Final Destination: Bloodlines," at $10.8 million. And another horror film, "Bring Her Back," debuted in fifth place with $7.1 million. "This is a very good opening for an original horror movie that cost only $4.5 million to make," said Gross. Rounding out the top 10 were: "Sinners" ($5.2 million) "Thunderbolts" ($4.8 million) "Friendship" ($2.6 million) "The Last Rodeo" ($2.1 million) © 2025 AFP

'The Matrix is everywhere': cinema bets on immersion
'The Matrix is everywhere': cinema bets on immersion

France 24

time2 days ago

  • France 24

'The Matrix is everywhere': cinema bets on immersion

This new immersive experience is designed to be a red pill moment that will get film fans off their couches at a time when the movie industry is desperate to bring back audiences. Cosm, which has venues in Los Angeles and Dallas, is launching its dome-style screen and 3D sets in June with a "shared reality" version of "The Matrix," the cult 1999 film starring Keanu Reeves as a man who suddenly learns his world is a fiction. "We believe the future will be more immersive and more experiential," said Cosm president Jeb Terry at a recent preview screening. "It's trying to create an additive, a new experience, ideally non-cannibalistic, so that the industry can continue to thrive across all formats." Cinema audiences were already dwindling when the Covid-19 pandemic broke out, shuttering theaters at a time when streaming was exploding. With ever bigger and better TVs available for the home, the challenge for theater owners is to offer something that movie buffs cannot get in their living room. Prestige projects like Tom Cruise's "Mission: Impossible -- The Final Reckoning" or Christopher Nolan's Oscar-winning "Oppenheimer" increasingly opt for the huge screens and superior film quality of IMAX. But Cosm and other projects like it want to go one step further, collaborating with designers who have worked with Cirque du Soleil to create an environment in which the viewer feels like they are inside the film. For filmmakers, it's all about how you place the cameras and where you capture the sound, said Jay Rinsky, founder of Little Cinema, a creative studio specializing in immersive experiences. "We create sets like the Parisian opera, let the movie be the singer, follow the tone, highlight the emotions... through light, through production design, through 3D environments," he said. The approach, he said, felt particularly well suited to "The Matrix," which he called "a masterpiece of cinema, but done as a rectangle." For the uninitiated: Reeves's Neo is a computer hacker who starts poking around in a life that doesn't quite seem to fit. A mysterious Laurence Fishburne offers him a blue pill that will leave him where he is, or a red pill that will show him he is a slave whose body is being farmed by AI machines while his conscious lives in a computer simulation. There follows much gunfire, lots of martial arts and some mysticism, along with a romance between Neo and Trinity, played by the leather-clad Carrie-Anne Moss. "The Matrix" in shared reality kicks off with a choice of cocktails -- blue or red, of course -- which are consumed as the audience sits surrounded by high-definition screens. Shifting perspectives place the viewer inside Neo's office cubicle, or seemingly in peril. "They're sometimes inside the character's head," said Rinsky. "The world changes as you look up and down for trucks coming at you." The result impressed those who were at the preview screening.

Witness accusing Sean Combs of sexual assault defends online posts of 'great times'
Witness accusing Sean Combs of sexual assault defends online posts of 'great times'

France 24

time3 days ago

  • France 24

Witness accusing Sean Combs of sexual assault defends online posts of 'great times'

"Isn't it true that Mr Combs never had unwanted nonconsensual forcible contact with you?" lawyer Brian Steel said to a former Bad Boys Records assistant testifying under the pseudonym Mia, during questioning that included displays of her personal social media posts. The testimony came as US President Donald Trump pondered aloud if he would offer 55-year-old Combs a pardon during a press conference at the White House Friday, saying "I don't know, I would certainly look at the facts." The facts are still unfolding in a trial that is expected to last into summer, in a case that revolves around Combs's relationship with his former girlfriend, singer Casandra "Cassie" Ventura. Earlier in the trial Ventura detailed years of alleged abuse and coercive, drug-fueled sex marathons with male prostitutes known as "freak-offs." This week, Mia described how her job between 2009 and 2017 became a nightmare as she worked to protect Ventura from Combs's fits of rage, or care for her after the attacks, tending to "busted lips," "bruises" and "a black eye." Combs would tell Mia to "go take care of her," adding that "we were not allowed" to go out until her injuries healed enough to conceal, Mia testified Thursday. She also testified that she personally endured abuses, including rapes, while working for Combs, recounting the painful and traumatic episodes with her head bowed. Instagram vs reality During cross examination on Friday, Steel confronted Mia with her social media posts, where she presented a much more positive image of her relationship with her boss. On a courtroom screen displaying Mia's Instagram posts, she called Combs "an extraordinary cultural phenomenon" and shared affectionate messages on his birthdays. Steel asked how she could publish such posts about a man she now accuses of sexual assault. "Of course you post the great times," Mia said. "Instagram is a place to show how great your life was even if it's not true." After Mia read her posts aloud, Steel questioned Mia's allegations, to which she replied twice "everything I said in this courtroom is true." "Ask any abuse victim's advocate and they could explain it to you much better than I could." On Thursday, Mia testified that Combs subjected her to "sporadic" instances of sexual violence, including at the artist's 40th birthday party at the Plaza Hotel in New York and his private residence in Los Angeles. "I just froze, I didn't react, terrified and confused," Mia said about one of the assaults. "He was the boss or the king, very powerful person," she said. "This is years and years before social media, Me Too, or any sort of example where someone had stood up successfully to someone in power such as him," she added. At the conclusion of the court's proceedings, jurors will have to determine whether that Grammy-winning artist and producer has used his fame, wealth and influence in hip-hop to support a criminal enterprise and sexual trafficking.

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into the world of global news and events? Download our app today from your preferred app store and start exploring.
app-storeplay-store