Lincoln Center as an Open-Air Immersive Lab: Jordana Leigh’s Method for Bringing XR Into the Season

Mathieu G.

Immersive work is no longer a side attraction tacked onto a performing arts calendar. At the Lincoln Center for the Performing Arts in New York, it is increasingly treated as a programming language—one that can expand access, strengthen community ties, and give artists new ways to stage emotion, memory, and presence. In this conversation with […]

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“With GOLIATH we wanted to offer an interactive documentary with an innovative and original narrative” – Katayoun Dibamehr (Floréal Films)

It’s unprecedented to underline it: a French company – Floréal Films – signs a double win at the Venice Film Festival, Venice VR Expanded section! After THE HANGMAN AT HOME in 2020, it’s GOLIATH signed by Barry Gene Murphy and

KATÁBASIS, a VR walkthrough of NYC’s underground tunnels, Best Immersive Work at the 2026 Cannes Film Festival

The 2026 Cannes Film Festival awarded the prize for Best Immersive Work to KATÁBASIS, by Ugo Arsac. This virtual reality experience, which takes viewers on a journey through New York’s underground tunnels, exemplifies the Cannes Film Festival’s commitment to combining

“MIRROR is an R&D laboratory for Atlas V” – Pierre Zandrowicz (MIRROR: THE SIGNAL)

A pioneer of immersive fiction in France with I, PHILIP (2016), Pierre Zandrowicz has never ceased to explore new narrative horizons (...)

“Social network users now want to turn their cameras to the real world” – Elisabeth Eon, David Letourneau (Atomic Digital Design)

The acceleration of immersive technologies over the past 10 years, along with the rise of social networking, has tended to divide virtual and augmented realities. On the one hand, a ubiquitous headset, and a slow take-up that still needs to

“We have to make content that is going to speak to everyone” – Victor Agulhon (TARGO)

One of the main problems in relation to immersive productions is the audience: how can we make more people interested in this medium?

“Virtual production can meet the requirements of feature film and audiovisual fiction” – Lancelot Rumney-Guggenheim (MADO XR)

It is a happy coincidence – or a real choice – to have located the MADO XR set in the heart of the Epinay-Sur-Seine studios (France) owned by the TSF company, founded more than 100 years ago and emblematic of