Google Supports Three Venice XR Projects With AI Interaction and 3D Conversion

Google’s 100 ZEROS team supported three extended-reality projects premiering during the 83rd Venice International Film Festival. The lineup places Gemini-powered interaction inside two experiences and applies Google’s spatial technology to a third, with all three designed for Android XR.

Google says the projects use a mix of Gemini conversational AI, Vertex AI, spatial film and 3D stereoscopic depth. Its stated goal is to expand the canvas of storytelling while keeping human creativity at the center. The works do not use those tools in the same way: two make conversation part of the experience, while Sedona is presented as a spatialized video teaser.

Two stories make the audience part of the exchange

The audience-facing approach appears in NEVATARS and Galápagos: The Last Eden. Both are listed in Venice Immersive’s competition as XR-glasses installations, placing them among the festival program’s works for immersive arts and media.

• NEVATARS is a mixed-reality animated short by Andy Serkis. Its Gemini-powered conversations and interactive moments support a story about embracing a creative voice.
• Galápagos: The Last Eden is an immersive XR journey narrated by Margot Robbie. Viewers can interact with a Gemini-powered digital Charles Darwin.

Sedona applies depth to a thriller teaser

Sedona, by Asylm Studios, is a psychological-thriller teaser that uses Google’s 2D-to-3D XR auto-spatialization technology. Rather than describing Gemini conversations or a digital character, Google identifies its role here as changing the teaser’s spatial presentation. The project is available on YouTube.

A festival setting built for immersive work

Venice Immersive spans immersive videos, virtual and mixed reality, virtual worlds and installations. The 2026 selection includes 68 projects from 26 countries. Within that setting, Google’s three supported works offer a compact demonstration of different roles for AI and spatial technology: direct audience interaction in two projects and depth-oriented presentation in another.

That distinction leaves a creative choice rather than a single template for AI filmmaking. Galápagos and NEVATARS make technology something viewers encounter within the work. Sedona shows Google applying its technology to how a story is presented. The lineup does not settle which approach serves a story best, but it puts both approaches before an audience built around immersive media.