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Cronenberg’s Address of Virtual Reality in eXistenZ

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Virtual reality film, eXistenZ delivered self-referential twists that seemed to mess with the minds of the viewers. In the film, there were games that were within games, which were also within games. The filmmaker informs his viewers that technology can engross their viewers in illusions that are very compelling. Andrei Tarkovsky Solaris (1972) noticeably investigates the boundlessness of a scientific probability that may exist in the outer world, and this is in stark contrast to Cronenberg gaming movie, eXistenZ (1992). Morphologically, the two films are different resonating with different audiences.
Cronenberg film suggests the notion that on the one hand, technologies were developed with a given intent of the application, and he intent is eventually distorted by the receptivity of different users. For instance, Allegra’s virtual reality game is created by a drive of the games users. Even though the game has its restrictions and rules, players are instead programmed to speak and act against their will in ways that enhance the main plot of the film, and its main story of the fatwa that was preferred against Geller. This would have been translated into an apparent manifestation from the real emotions and intentions of the games players. With the scenario at play, and then the filmmaker, Cronenberg communicates that people can bring out the intent of certain technologies.
This is the reason eXistenZ lacks a clear goal in the beginning, and then gradually being developed as th…

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