Luz at Sundance: Virtual Reality Enhances Human Connections
Premiered at Sundance, "Luz" reimagines virtual reality in cinema not as a threat, but as a delicate hope for human connection in an increasingly technological world.
Virtual Reality in Cinema: A New Perspective
After numerous negative depictions of virtual reality in movies like The Matrix, Virtuosity, and The Lawnmower Man, a new film presents a potentially positive view of the technology. Luz, directed by Flora Lau and showcased at the Sundance Film Festival, explores how virtual reality can act as a tool for human connection.
A Glimpse into Virtual Reality in Luz
The film follows two lonely protagonists, Ren and Wei, in a world where technology is pervasive. In this realm, virtual reality serves as a sanctuary for these characters, offering them a semblance of peace. However, the virtual reality gear shown in the film, including ski-mask-like goggles, represents both a step forward and a step back from current technology.
In Luz, the virtual world is portrayed as an escape from real-life problems for Ren and Wei, though it ultimately proves futile. Ren attempts to connect with his distant stepmother, Sabine, while Wei tries to reconnect with his estranged daughter, Fa. Their paths intersect during a virtual hunt for a mystical neon deer, which appears to be the only way to “win” in Luz.
The Universe of Luz
Luz does not attempt to create a fully CG world like in Ready Player One. Instead, it opts for a hyper-stylized version of the real world, filled with neon lights and characters dressed as if they’re attending Comic-Con. This raises the question: if virtual reality is so immersive, why bother with connections in the real world?
Review of Luz
Despite Lau’s efforts to craft appealing virtual reality imagery, the film would have benefited from more time spent on the interaction between the two main characters. The film also falls short in terms of character development. Despite its solid performances and well-composed cinematography, Luz lacks warmth and proximity, which is ironic for a film meant to be about rediscovering human connection.