hy finteractive VR Film? We believe the uniqueness of  VR film language is yet to  be found.  Every film production made for  VR  headsets to date, although extremely creative in most of cases, falied to address the potential of narrative-driven VR experience. They are just 360 where audiences are just passive spectators. Interactivity is the core of the VR medium. The feeling of my action having an impact of the world brings a whole new aesthetical breakthrough in storytelling history. A CELTIC STORY binds the gap between interactive experience and stories without falling into the chose your story format



We are  a woodman who wakes up a morning to the sorrowful singing of a woman sat next to a fire. A 8 years old girl comes to us and tells us her mother is making her sad. We can go to the woman or leave

the house. Whatever we do, the little girl will try to stop us from going inside a nearby

forest when by curiosity we will be drawned to it. We give her then the cross hanging

from our neck. We go into the forest and walk through it with marvel. We hear then a

charming tune coming from the depths of the woods. Out of curiosity we chase the

SPATIAL SOURE of such song.  When we approach, it will escape from us,  changing

the atmosphere of the forest in an circular echoing music. When we reach it, the forest

mist begins to glow gold in a fog of light. Inside, we find little faeries playing the

enchanted tune. Driven by the music we dance with them.When the dance ends,

the faeries leave and we see that it is now late and dark

Now another music is heard from the distance. The same lament we heard from the woman when
the movie began,. We follow it.  But it leads us back home, which it is now covered in weeds.
We go inside, and see it is an old lady who is singining.. That old lady has the little cross we
gave to the little girl before entering the woods.
She is our daughter who tellls us to stop singing the sad song from her mother.   



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