The re-signification of literary practices in the digital age seems to be an unavoidable issue in societal and education agendas. The ever-evolving and wide array of communicative possibilities has shaped new forms of human interaction, giving way to divergent conceptions of time, history and space. Nowadays, most of us have access to a wide variety of options simultaneously, regardless of the distance and time. Fictional words are no exception to this, as the impact of New Media on our lives has radically changed the way we construct meaning, and by extension, the way we read a story. The aim of this poster is to analyze the alternative and multiple realities in film and literature through the use of the analogy of the “maze”, standing for the infinite diverging narratives which can open in all directions. The aforesaid study will be grounded on the comparative analysis of the interactive film “Black Mirror: Bandersnatch” (2018), and “The Garden of Forking Paths” (1941) by Jorge Luis Borges, supported by the lastest postmodernist theories. Borges, with a visionary imagination, seems to have understood the limitations of a linear story-structure, thus encouraging the reader to take an active role and reflect on literature and the act of writing itself. In “The Garden of Forking Paths” (1941), he analyzes the narrative as a system of branchings in a disjointed story-structure. In this story, the author describes a classical Chinese novel in which all the possible bifurcations of such system are realized, hinting at the possibility of a perfect -yet unfathomable- novel. In the same vein, a new emerging genre in the cinematographic field challenges the viewer to leave his/her passive role to become an active part of it, as if in a videogame. The linear progress of the plot has been modified by the interactive films in which the viewer is faced with a multilinear and interactive narrative that unfolds according to the expectator’s choice. A clear example of this is Netflix’s Black Mirror: Bandersnatch, an interactive film whose non-linear narrative provides the audience with multiple options, which ultimately have an impact on the storyline. By altering the narrative flow and changing the fate of the lead character, the spectator is offered an illusion of control over the plot that encourages us to keep on watching and participating. Nonetheless, it is important to consider that filmmakers have already selected certain options to be chosen, leading the viewer to the desired endings. Furthermore, the nature of the interactive film genre naturally subverts the idea that the final say over how the film progresses has been already set up. If it is true that the new interactive consumers have acquired a new way of watching films, the more control they exert over the character’s fate, the more exposed they are to the platform’s manipulation. All in all, it can be proved how literature and film can and should reflect current patterns of social interaction, based on the possibility –albeit sometimes restrained- of choice.