There has been much written about the potential of virtual reality as a new medium for artists, but Alejandro G. Iñárritu’s CARNE y ARENA, the first VR project selected for the Cannes Film Festival, might be as definitive for this art form as the Lumières’ L’Arrivée d’un train en gare de La Ciotat was for film; the first meaningful step towards establishing the true possibility of the form.