Every Apple Vision Pro owner has one clear request: they want more. More features, more content, and more immersive experiences. Apple’s latest endeavor to fulfill this desire is the short film Submerged, directed by acclaimed filmmaker Edward Berger and specifically designed for the Vision Pro. This engaging 17-minute film offers a captivating experience that showcases what the Vision Pro can do, though it ultimately leaves viewers craving additional content.
Thanks to an early preview from Apple, Gizmodo was able to watch Submerged before its full release on the Apple TV app. During this wait for a much-anticipated update that will introduce a 180-degree wraparound screen to visionOS 2, I have explored numerous traditional and immersive videos on the Vision Pro. While this short-film format serves as an entertaining distraction—much like the short documentaries from series such as Elevated and Adventure—they typically lack the substance to warrant repeated viewings.
Spoilers for Submerged below:
While Submerged is enjoyable, it does not quite meet the high expectations set for immersive cinematic experiences. The film, set during World War II, follows submariner James Dyson, played by Jordan Barton, who awakens in a US submarine only to discover that his friend is missing. The tension builds as he searches the claustrophobic vessel, filled with the sound of humming machinery. The film momentarily dissipates this tension when Dyson finds his friend in the mess hall, leading to a poignant conversation about life at sea. However, the tranquility is shattered when their submarine comes under attack from a German destroyer.
The climax intensifies as the crew must escape their stricken submarine after a barrage of depth charges. Dyson’s escape, punctuated by a scream of survival, is thrilling. Although I appreciated Berger’s previous work, notably All Quiet on the Western Front, Submerged feels muddled—fusing too much plot into a short runtime without enough character development or thematic exploration. Nonetheless, the film is visually striking, invoking feelings of claustrophobia and tension that make it worth watching if you have access to a Vision Pro headset.
This film highlights the potential and limitations of immersive cinema. Although the technology offers a 180-degree viewing space, Berger focuses largely on close-ups, directing the audience’s attention where he wants it. Set in the compact confines of a submarine, this choice makes sense, albeit at the cost of the immersive aspect; viewers can look around but are still led by the camera’s focus.
Like all visual storytelling, filmmakers use techniques to guide viewer attention. A prime example of this is found in Mad Max: Fury Road, where the action is deliberately centered to facilitate audience focus during frenetic scenes. Berger employs similar strategies, such as depth of field and spotlighting, while highlighting the close-up of character emotions. Even with the ability to explore the surroundings, viewers may find themselves tethered to the director’s intent.
Unlike previous immersive content from Apple, which predominantly features documentary-style narratives, a fictional immersive film demands meticulous attention to camera placement, blocking, and dramatic cinematography. In the making-of video, Berger spoke about their struggles with concealing the specialized 3D cameras needed for such recording. This requirement necessitates careful set design to avoid revealing undesired elements.
Setting the film on a submarine allows for creative camera movement without the risk of unintended visibility. The production employed real sets capable of being rocked and flooded, requiring the design team to ensure that every detail appeared flawless and realistic, as the viewers have complete freedom to explore.
When audience members are free to look around, there’s a decrease in reliance on cinematic trickery to distract from less realistic set dressing. The final scenes of Submerged reveal the vast ocean around the lifeboats with no indication of the attacking vessel, raising questions about narrative oversight versus production constraints.
Upcoming Immersive Content for Vision Pro
During my demo, Apple also unveiled a short film for the 2024 NBA All-Star Weekend, presenting a highlight reel filled with innovative camera angles from behind the basket. Additionally, Apple plans to release new episodes of Adventure and Elevated later this year. The next major immersive project involves a musical experience with The Weeknd, coinciding with his upcoming album Hurry Up Tomorrow, set for release next month. Another upcoming highlight is a performance by British artist RAYE in the new series titled Concert for One.
Content providers face the ongoing challenge of needing more engaging material to keep subscribers interested. Once a viewer completes a show, they are eager for the next offering. If new content fails to entice, they might discontinue their subscriptions. The Vision Pro offers a great platform for watching native apps like Disney+, and with visionOS 2, it’s an effective device for browsing YouTube or Netflix. However, the hefty price tag of $3,500 for the headset raises the question of whether it can genuinely compete with high-end 4K televisions that facilitate group viewing experiences.
Ultimately, Submerged is a critical release for Apple, as it seeks to position mixed reality as a legitimate medium for compelling fictional narratives. Unfortunately, the steep price of the Vision Pro limits its audience reach significantly. Market analysts expressed concerns about Vision Pro sales earlier this year, although a recent report from IDC indicated some recovery, albeit while the overall market share for VR diminishes due to the competitive lower-price offerings from devices like Meta Quest 3 and 3S. As new affordable Vision products emerge, Apple must continue to enhance its content library with pieces like Submerged to pique the interest of its broader fanbase.
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