Digital technologies industrial point to a cinema as immersion virtual space in which the viewer inter / now acts as a cameraman, now as editor. Nothing virtual film sets have instead made ​​miniature by Jennifer and Kevin McCoy for installation Soft Rains , exposed to the Postmaster Gallery in New York. Each of these seven platforms, in fact, reconstructs in detail an area known filmic imagination, the typical American home at the loft of an artist from the hotel with the night club, in which they are placed statically toy characters that serve as actors in history. The plot exists and the protagonist, housewife from red dress, it 'moves' from one genre / movie set to another through the fifties melodrama, the film art of the sixties, the noir and the action movie. All these situations are present simultaneously and are taken simultaneously in more than 50 miniature cameras, arms gigeriani suspended scrutinize every corner of their eyes terminals. The captured images are sent to a computer through a custom software edits the seven films projected on adjacent screens. Perhaps it is at this stage that best trace the characteristics of applied research to the "future cinema", ie the evolution of film language randomiche obtained through the synapses of the computer. Consider, for example, studies conducted by the Interactive Cinema Group of the MIT on the narrative metalineare or roads traveled by the Media Lab Europe on Live Cinema. The same McCoys Airworld as in previous work focused on the exploration of narrative obtained by putting in a dynamic sequence of basic elements not previously edited, without beginning and without end, without a development theme. The originality of Soft Rains rather to reproduce the key themes of the film theories, the question of point of view that relating to the genres, from metacinema to the vision of the device, updating it through electronic installation that examines the narrative spaces. These exist, are microset, but each time change according to the shooting, the eye that looks at them and they are not enclosed by walls in such a way as to make visible the profilmic but open themselves to their surroundings, the gallery that contains them, so that the cameras will film the visitors, spect / actors that you review on projection screens films assembled. That of the McCoys is essentially an attempt, more or less successful, to storytelling that combines improvisation with the default, the space property and the flow of time, in an oxymoron well summed up in the title Soft Rains.