Past events

DocLab Live: Bloodless – Guided by the Ghost of a Korean Sex Worker 25 Nov 2017 at 17:00

Special presentation on VR installation Bloodless, in which director Gina Kim and guests discuss the influence of American military presence on the South Korean people since 1956.

DocLab Live: Order, Chaos and Everything 21 Nov 2017 at 20:00

Join Jonathan Harris on a secular pilgrimage: from physical reality to the chaos of YouTube, and a digital simulation of consciousness.

Industry Session: Making VR Work for Audiences 20 Nov 2017 at 10:00

Zillah Watson, Commissioning Editor for Virtual Reality at the BBC, on how to make VR work for audiences.

more events


What is it like to flee your home and start again in a new country? This virtual reality film allows you to feel this period of limbo, waiting for a decision that will affect the rest of your life.

The refugee crisis has challenged Europe. Media coverage has been extensive but despite the many heart wrenching accounts there seems to be no broad social understanding of their plight. What if we didn’t just hear their stories, but could actually experience what they go through? This is the aim of VR film Limbo: no talking heads or footage of wandering Africans, but a piece which places you in the position of a newly arrived asylum seeker cast adrift in a new world, not allowed to work, unsure if you will be allowed to stay. You gaze around a black and white ghost town, taken to the house where you’ll wait with other asylum seekers, seemingly forever. The interview which determines if you will stay is nightmarish – you’re asked details so specific you couldn’t possibly remember, triggering traumas and images from the past. The interviewer’s blurred image blurred image repeats around you: first in front, then beside, then behind. He’s so close you have to look. It’s intimidating and frustrating, and it allows you to get a sense of this suffocating powerlessness.

Project details

Year of development :2017
Created by:Shehani Fernando
With:Francesca Panetta, Nicole Jackson, The Guardian

Available formats