Abstract: Interactivity in Bandersnatch occurs through its narrative construction and not the technical limits of Marida Di Crosta’s “actable-film”. Actability is present via Bandersnatch’s maze-like narrative structure and seemingly-contradictory collaboration with the viewer, enabling him/her to bypass the choices underlying the interaction. The connection to the Black Mirror series creates numerous transfictional interactions that use the actable-film to integrate the viewer in the story.
