XR Focus / Germany, a not-so-sleepy giant of immersive creation

Mathieu G.

Since the virtual reality resurgence, Germany has been among the top three European countries in terms of production support. With its highly regional dynamics, the country has “scaled up” its funding based on its experience in film and video games - like France, after all. A real economic fabric built around particularly creative studios and […]

---

Not gonna lie: this part is locked

Memberships help us keep XRMust independent and keep the project growing.

@ Dabatase

@ Magazine

XR Focus / Luxembourg: a champion of immersive production

For a number of years now, Luxembourg has been setting out its ambitions in terms of XR production. A singular approach in an emerging market, for a country with only a few hundred thousand inhabitants. Where does this interest in

“A project where each component can stand on its own, while still belonging to a unified whole” – Michelle Kranot, Peter Fisher, Kathrine Fremming (THE GARDEN SAYS…)

How does an immersive work come to life and evolve? At XRMust we often ask ourselves this question, and one of the most rewarding experiences for me, both as a writer and as a participant, has been the chance to

Decoding XR: Leo Metcalf, and Michael Golembewski (THE TIME BEFORE)

First seen at the latest Venice Immersive, THE TIME BEFORE by filmmaker and animator Leo Metcalf is a deeply moving story told from a child’s perspective. Combining poetic storytelling with carefully crafted interactive design, the work explores memory, consciousness, and

Luxembourg scales up: when a European public fund transforms immersive technology into an industry

Film Fund Luxembourg occupies a singular position within the European ecosystem: a powerful public instrument, backed by a structured audiovisual policy, that has gradually expanded its scope toward immersive creation without weakening its historic foundation. In this interview, Guy Daleiden—its

“There is no competition between feature films and virtual reality content” – Babette Wijntjes, Camille Lopato (Nu:Reality)

Virtual reality cinema” is back in vogue! If some places were open since the opening of VR to the general public, most theatres disappeared before or during the confinements related to Covid – in favor of experiences to be lived

“The moments when we are together are the ones that really get this industry going” – Mark Atkin (CPH:DOX – Inter:active 2022)

After a 2021 edition we fell in love with, CPH:DOX Inter:Active is back for a mostly in-person event starting today! Fewer works, large and complex installations and the chance to discover a festival, immersive productions – and Copenhagen itself! –