The panel dissected XR’s impact on filmmaking, funding challenges and future opportunities, discussing how it is reshaping storytelling, co-productions and audience engagement

l-r: Arnaud Colinart, Konstantina Stavrianou, Vassiliki Khonsari and Kathrine Fremming at the panel

The Thessaloniki International Documentary Festival’s Agora (7-15 March) hosted the “XR Unlocked: An Introduction to New Realities in Production” panel as part of the newly launched AGORA XR Lab initiative. The discussion delved into the evolution of extended reality (XR) filmmaking, the shift from traditional storytelling to immersive experiences, and the industry’s growing opportunities and challenges.

Moderated by Vassiliki Khonsari, creative producer, writer and founder of iNK Stories, the panel brought together key figures in XR production. The event was introduced by Angeliki Vergou, head of Agora, who acknowledged the support of EKOME-Creative Greece. Lazaros Boudakidis, head of the Immersive: All Around Cinema Competition, provided an overview of XR’s broad terminology and its integration into contemporary storytelling.

Khonsari set the tone with an observation on XR’s potential to redefine human connection, referencing Alfred Hitchcock’s notion of memory editing. She emphasised that the industry, expected to exceed $100 billion in value by 2030, is fundamentally altering how stories are told by offering unparalleled levels of immersion and interaction. The rapid expansion of XR is evident in its increasing presence across industries, from education and healthcare to corporate training and entertainment, positioning it as one of the most transformative storytelling tools of the digital age.

Arnaud Colinart, producer at the French company ATLAS V, an expert in immersive productions, explored the benefits of XR’s innovative format, particularly in fostering international co-productions and expanding creative opportunities. He highlighted ATLAS V’s success in collaborating with acclaimed actors, such as Colin Farrell, Cate Blanchett, Marion Cotillard, and Léa Seydoux, an achievement that XR’s unconventional production model makes more accessible. Colinart described XR as an intersection between cinema and live performance, emphasising the crucial role of producers in bridging the gap between directors and the multidisciplinary teams required to create immersive worlds. He also addressed the challenges of distribution, noting that while VR headsets are becoming more widespread, content accessibility remains an obstacle to mass adoption.

Kathrine Fremming, head of Cultural Partnerships and Brand Innovation at Copenhagen-based outfit Khora VR, discussed her company’s evolution since 2015, noting how it has tackled a diverse range of XR projects, from scientific simulations to artistic explorations. She pointed out a shifting industry focus from interactive documentaries toward gaming-inspired experiences, reflecting an increasing demand for interactive storytelling in the digital space. Fremming stressed the necessity of adapting to emerging technologies, particularly AI, to expand creative possibilities within XR production. She also highlighted the growing interest of major cultural institutions, such as museums and galleries, in utilising XR to create immersive exhibits that attract new audiences.

Greek producer Konstantina Stavrianou (Graal), shared her personal journey into XR, describing how she transitioned from traditional film production to immersive storytelling. She recounted her experience with Paradise Lost by Yolanda Markopoulou, initially as an observer before becoming deeply involved as a producer. Stavrianou addressed the funding challenges for XR projects, particularly in Greece, where financial support for immersive media remains limited. Despite these difficulties, she expressed optimism about XR’s growth and its potential to flourish with the right industry support. Her insights reflected broader trends, as funding for XR projects often relies on grants, partnerships, and private investments rather than traditional film financing models.

The panelists also discussed the ideal backgrounds for professionals interested in XR. Colinart highlighted animation as a strong foundation, while Fremming and Stavrianou pointed to theatre’s interactive nature as an excellent training ground. They collectively advised aspiring creators to focus on finding the best medium for their stories rather than forcing narratives into XR for novelty’s sake. This aligns with a wider industry discussion on balancing technological innovation with strong storytelling, ensuring that immersive experiences remain compelling rather than gimmicky.

The discussion concluded with an audience question about whether XR might replace traditional cinema. Stavrianou confidently stated that the two mediums would coexist, each offering unique experiences rather than competing. Khonsari echoed this sentiment, emphasising that the XR industry remains collaborative and accessible, offering opportunities for newcomers to learn and contribute. While the landscape of storytelling continues to evolve, both XR and traditional cinema will shape the future of visual narratives together.