“Condition One” and “Collisions.” (Danfung Dennis, Casey Brown and Phil McNally; Lynette Wallworth, with the backing of Sundance and Jaunt) Dennis is a VR pioneer, having explored the medium earlier than most, and also bringing some traditional-film cred to the medium. (His war documentary “Hell and Back Again” was nominated for an Oscar a few years back.) Dennis’ new collection of films, sharing the same name as his company, has an activist, animal streak.

In one, we go inside a slaughterhouse to see the origins of our supermarket meat. In another, titled “In the Presence of Animals,” the film takes viewers to places where endangered bears and buffalo roam, suggesting that human development could soon many them extinct. (There’s also one on a ballet company.)

The innovation here is formal: in “Animals,” filmmakers have a few of the beasts come up to you and defensively acknowledge your presence. I felt a little skittish watching “Animals;” one of the main pleasures of VR, after all, is that you can be in the middle of a dangerous situation and feel invincible (and invisible). Dennis is breaking that compact. How much the medium can accommodate that fourth-wall engagement — how much VR will move away from the voyeur — will be one of the big questions it faces in the years ahead.

A similarly endangered landscape is on display in “Collisions,” which Wallworth shot in a remote outback of her native Australia. The 15-minute film tells the story of an older lifelong resident who witnessed nuclear tests on his land decades before; the radiaton wiped out the wildlife and traumatized the locals. The film’s piece de resistance is an effects shot in which, running away from the attack, majestic kangaroos glow unhealthily and fall to the ground.

“The idea is empathy. Even many Australians haven’t been to places like this. We wanted to use VR as a powerful tool to show what’s happened, to people who would never travel there.​​”

Lynette Wallworth, whose film is the recipient of an inaugural VR grant the from Sundance Lab