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Quentin DupieuxDrehbuch:
Quentin DupieuxKamera:
Quentin DupieuxBesetzung:
Robert, Stephen Spinella, Jack Plotnick, Wings Hauser, Roxane Mesquida, Daniel Quinn, Devin Brochu, David Bowe, James Parks, Courtenay Taylor (mehr)Inhalte(1)
Robert, an abandoned tire, suddenly and inexplicably comes to life. As he rolls around the bleak desert landscape, he discovers his own terrifying telekinetic powers that give him the ability to blow up anything he wants beer bottles, small animals just by concentrating. But his attention soon turns to humans when a beautiful and mysterious woman crosses his path. (Verleiher-Text)
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Eine kleine Festveranstaltung über einen außergewöhnlichen Autoreifen, der aufgrund telepathischer Fähigkeiten einen Wüstendorfbewohner umbringt. Das Thema ist an sich absurd, aber wie dem Zuschauer direkt in der Einführung gesagt wird, hat nicht alles einen Grund. Rubber ist vor allem ein einfallsreiches Experiment, bei dem der Zuschauer zum direkten Teilnehmer der folgenden Ereignisse wird. Der Film hat kein Drehbuch, aber der Gummiheld hat es mir reichlich vergütet. Der Reifen namens Robert ist nämlich ein unverschämt sympathischer Kerl, obwohl er keinen kahlen Kopf und keinen Mund voller Geschwätz hat. Sein Verhalten unterscheidet sich nicht viel von unserem: Er schläft, schaut morgens Aerobic im Fernsehen, duscht und geht jemanden erledigen. Die explodierenden Köpfe vermischen sich mit schwarzem Humor, existenzielles Drama verschmilzt mit sozialer Satire, und dazu gibt es einen energiegeladenen Soundtrack voller Elektro-Dance-Rhythmen. Genau dafür und für das lustige Finale hat Rubber meine Sympathie gewonnen.
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Promoting this as new-era trendy eighties-like conscious entertainment almost feels like Oizo's own premeditated move, because in all other respects it's Buñuel all the way, and serves as a forerunner to the director's latest cut thus far, Reality, far better than the more mainstream Wrong Cops. While Dupieux irritates me a bit, since he abdicates responsibility for anything right from the start and his recognizable visual style (static, aperture-overexposed super-sharp digital shots, longer than the time demands) also takes the wind out of my sails, yet as an existentially nihilistic comedy it still does what it wants while somehow staying mysteriously coherent.
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Rubber has been waiting for a long time for me to get to it. This movie, starring a Goodyear tire, is actually something you don’t see every day. You will probably never see anything like it. And quite possibly, you will not even want to see it again. Mr. Oizo simply makes such movies. Everyone laughs at different moments. Somebody doesn’t laugh at all. But I believe that everyone is starring with their mouth wide open and is contemplating what they are actually watching. There are loads of WTF moments. Basically, crazy scenes alternate with crazy scenes, and it fascinates me that I didn’t get bored at all while watching a 79-minute story of a living tire. Is that even possible?
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A film about a murderous tire. In the 1980s this would have been a fun horror B-movie, but today we have an artsy reflection on the relationship between the media and the public. I’m not sure what is stronger :)
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