sociological concern in western societies: today technology provides new
sources to immerse and confuse reality and unreality through Cyberspace,
digital worlds and videogames, and our misunderstanding of it can potentially
affect us.
It was intended that an uncomplicated film be made; a film that
presented the audience with the (un)reality of daily life. It was the objective
that the originality of Luna had to reside largely in the narrative decisions
and not in the digital manipulation of the image. That said, such audiovisual
manipulation is certainly present in Luna when the female protagonist, Luna
(Matgorzata Wqdek), faints in the toilet, and, correspondingly, the alteration
of colour and the change of speed illustrate the potential of digital
techniques and their capacity to (re)create (un)reality. Offering a subjective
viewpoint, these scenes emphasize and transfer the feeling of confusion from
the eyes of the character to the audience. Thus, and although budget
limitations and equipment availability were factors in not pursuing a special
effects heavy SF film, production circumstances have nevertheless inspired
the use of creative resources in the expression of the story.
Indeed, a variety of cinematographic techniques are employed to
transform the spectator from a voyeur to an active participant; mirroring, in
this way, the special effects of big budget productions such as The Matrix,
Total Recall, Abre los Ojos and eXistenZ that are able to communicate a
much more heightened sense of interaction and confusion. The use of the
hand-held camera is significant in this process, as are the postproduction
effects that replicate the immersion in virtual environments that is
experimented by Victor. Here, the camera moves from a bush to the diegetic
television screen and then stays immobile, absorbed by the flashing light,
brusque movements and captivating sounds of the game. It then moves again
to Victor eyes, in which we can see not only his intense immersion in the
videogame, but, in a double reflexivity, we observe the camera, being a
witness to everything. Therefore, Victor’s eye is the point of confluence of
three dimensions: the diegetic world of the film, the virtual world of the
game and our (un)reality, that is ‘denounced’ by the camera.
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