Michel Reilhac is an independent interactive story architect. He is also a thought-leader for hybrid forms of storytelling, and immersive, participatory, and interactive experiences. He is currently Head of Studies for Venice Biennale College, and Director of the Multi-Platform Master Studies at Media Business School in Spain, and is frequently invited to teach and speak at international events such as Cannes International Film Festival, SXSW Austin, Tribeca Film Festival, Sunny Side of the Doc, The Pixel Lab, Dixit, FEMIS, just to name a few.
From 2002-2012, Michel was Head of Film Acquisitions at Arte France and executive director of Arte France Cinema. From 2007 to 2011 he has was a producer for the Hollywood hit Son of Rambow, and Lars von Trier’s (the most ambitious and visually distinctive filmmaker to emerge from Denmark in 60 years) the Antichrist and Melancholia. In 2012, in recognition for his work at Arte, Michel was named Man of the Year in film by the French trade magazine Le Film Français.
This year the Sundance Institute celebrates its 10th anniversary of its New Frontier program with an exhibition of new work at the 2016 Sundance Film Festival, including immersive cinematic works, virtual reality installations, an extensive lineup of documentary and narrative mobile VR experiences and an inside look at the innovations being developed at some of world’s leading media research labs, including Michel Reilhac’c VR film VIENS! (Come!)
Letter of introduction
In 2016 a peculiar era is starting with the emergence, maybe the outbreak, of a radically new narrative form: Virtual Reality.
Very seldom do we have the opportunity to witness the emergence of a new formal language linked to the development of a new technology. Even more unique regarding this upcoming and awaited medium is the economic power that pushes it forward, programming with strategy an expected return on investment . Rarely has there been such a well thought-out and planned implementation of a commercial, mediatic and technologic tsunami carrying economic and creative expectations.
One of the exciting challenges that will unfold over the next months is the appropriation of this newly made available tool by the artists and authors. The magnitude of the bid put on VR by the audiovisual industry is such that it could rise concerns about its global exploitation using standardized formats. But the required technology used to create these new film experiences is eventually quite affordable.
Creation expressed in all of its forms is taking over Virtual Reality. Innovation is budding everywhere and we see throngs of initiatives of all kinds emerging in all fields.
An event needed to be created in Europe in order to highlight and celebrate this emergence. A European bridgehead that anchors the creative and technologic connections of all the VR pioneers, who everywhere in the world are at the origin of a new language used in Virtual Reality, and their encounter with the audience.
Everything is yet to be invented. There will be no more exciting time as the next years when this new form will go through the process of learning how to express itself.
Like explorers gathering together to take stock before venturing out and discover unexplored land, meeting in Villars becomes a necessity.
Therefore, let’s all meet up in Crans-Montana in May 2016!