At the dead end of a party, Jesse looks around to see if she can make a connection. This cinematic virtual reality (CVR), 360-degree, film explores what it means to be amongst those brief, late night, moments when strangers come into contact. Until Jesse 360 takes into account the potential for CVR to create the `empathy machine' [2] by situating the viewer amongst, rather than at a distance from, intimate conversations. At the same time, it questions some of the unwritten rules that have emerged in the first few years of CVR, mainly that dynamic editing and short shot length should not be used in case they disorient the viewer. By exploring the possibility of switching between perspectives and providing the viewer with `impossible' viewpoints, Until Jesse 360 challenges our conception of VR space as well as how we can be positioned within it. In this way, it takes into account John Mateer's point that “existing methods for film can be adapted to immersive presentation so long as they also take into consideration unique aspects of the CVR platform” [1] by playing with editing style whilst making the most of 360-degree space.