NEW YORK — Film productions typically deal with various challenges, such as weather changes, overtime for crew members, or dwindling daylight. However, unique concerns arose during the making of “Grand Theft Hamlet,” a documentary centered on British actors Sam Crane and Mark Oosterveen, who, during the pandemic lockdowns, embarked on staging “Hamlet” in the chaotic realm of “Grand Theft Auto.” While Shakespeare might not have envisioned a threat of a rogue python or Hamlet contemplating existence on a helipad, the violent backdrop of “Grand Theft Auto” surprisingly aligns with the play’s theme of mortality.
Pinny Grylls, who co-wrote and directed the film with her husband, Crane, recounts, “When Sam first performed a Shakespeare scene within the game, he remarked that it felt akin to the Globe during Shakespeare’s era, where audiences would throw apples at lackluster performances.” In this immersive experience, the avatars of Crane and Oosterveen navigate a world where onlookers are intermittently engaged, carefully attuned to the poetic essence unfolding amidst the chaos.
Scheduled for theatrical release by Mubi in January, “Grand Theft Hamlet” opens with avatars of the lead actors escaping law enforcement and crashing into an outdoor amphitheater. One character exclaims, “I wonder if we could stage something here?” But they are not alone in exploring virtual spaces for cinematic storytelling. Benjamin Ree’s “The Remarkable Life of Ibelin,” which recently premiered on Netflix, explores the life of Mats Steen, a Norwegian gamer who passed away from Duchenne muscular dystrophy at 25, showcasing both his real-life and in-game experiences in “World of Warcraft.”
Similarly, “Knit’s Island,” available on Metrograph at Home, unfolds largely in the survival game DayZ. Filmmakers donned fake “PRESS” badges on their avatars, aiming to interview high-kill-count players, even yelling “Don’t shoot! I’m a documentarist!” in their quest. Each of these documentaries dives into video game universes, seeking to uncover insights within these platforms, emphasizing that these digital landscapes can foster genuine human connections just as effectively as any real-world setting.
“Filmmakers aim to reflect the world around us, and since more people are engaging in virtual gaming environments, it’s crucial to highlight this evolving landscape,” Grylls adds. With the gaming sector becoming a dominant form of entertainment—reportedly surpassing the combined revenue of film, television, and music—the borders separating cinema from video games continue to dissolve. This merging is evident not only in blockbuster hits like “The Super Mario Bros. Movie” but also in smaller-scale films known as machinima, created using gaming engines for unique storytelling.
The projects “The Remarkable Life of Ibelin,” “Grand Theft Hamlet,” and “Knit’s Island” represent innovative strides in bridging the divide between virtual experiences and traditional cinema. “This is just the beginning,” Grylls states, expressing excitement about being part of this cinematic evolution.
Reconstructing Mats Steen’s life was a profound endeavor for Ree. After learning about Steen’s journey, which became increasingly tethered to gaming due to his illness, Ree felt compelled to tell his story. Following Steen’s death in 2014, his parents received an unexpected outpouring of tributes that celebrated their son’s in-game persona, Ibelin Redmoore of “World of Warcraft.” Ree’s film resurrects Steen’s experiences through extensive archival texts, exploring how he discovered friendships and love within the gaming landscape.
Ree knew that the film needed to showcase Steen’s life through the lens of “World of Warcraft.” Though not an active player himself, Ree contacted gamers who shared fan-created content online. Collaboration with Rasmus Tukia and two other animators enabled the recreation of the game’s environment, utilizing gameplay assets.
“We were pioneering something entirely new here, and the YouTubers involved were all diving into their first professional project,” Ree shared. Their aim wasn’t to replicate the game precisely; after three years of effort—without initial permission from Blizzard Entertainment—they reimagined Steen’s experiences in a more fluid, cinematic manner. Along the way, input from Steen’s online friends proved invaluable for accuracy.
“After screening the film for them, they commented on its authenticity, noting one detail: ‘Ibelin had a preference for women in more leathery attire,’” Ree recalled. It wasn’t until the film was on the cusp of completion that he finally reached out to Blizzard for rights. Nervously, he presented the film, and after viewing it, the executives were visibly moved, leading to a pact for rights.
Meanwhile, Crane’s involvement in “Grand Theft Hamlet” began as a light-hearted project during the pandemic to stay engaged. As he shared videos online, responses from audiences and Rockstar Games confirmed their encouragement. “They acknowledged that they designed the game as a sandbox for creative possibilities,” Crane explained.
Navigating the game’s environment proved challenging; chaotic conflicts often erupted during auditions and rehearsals. With few established guidelines, Crane and Grylls relied on existing works like Joe Hunting’s “We Met in Virtual Reality” for inspiration. However, their project was markedly distinct due to its unique setting.
As the film progressed through various festivals, Crane and Grylls found themselves and their creation gaining unexpected acclaim. The community that blossomed during this project underscored the surreal capacity for connection fostered within the digital realm. Ree’s journey has also echoed these sentiments, as he traveled with Mats Steen’s parents. What began as a solitary life has transformed into a worldwide acknowledgment and celebration.
“They’ve accompanied us to every screening,” Ree noted. “For them, the film has served not only as a healing process but also a means to navigate their grief, having watched it over 150 times now.”