Anyone who knows me well, remembers that last year I had one film, one epic stroke of genius that I was proselytizing from every soapbox I could find… RUBBER. The hunt began for this film back in February at the Berlin Film Festival. On my very last day before returning home, a friend of mine stopped me in the street and said that I must drop everything right now and hustle to the Wild Bunch promo booth to see a 60 second teaser for my new favorite film. Fifteen minutes later, I had just witnessed a psychokinetic steel-belted radial tire disintegrate a bird and “go scanners” on a policeman’s head. I knew very little, but I was already sold. I recommend checking out the red band trailer to share in the euphoria.
At Cannes a few months later, the finished film debuted as an official selection of Critics’ Week. I was shut out of the first screening and got no fewer than a dozen texts from those who made it inside that this was THE film that I had to see at the fest. Normally, when my expectations soar to these lofty levels, I am almost always disappointed. Not this time. Four days later my eyes feasted on the glory of RUBBER, and I stand before you today every bit as elated with this movie as I was that day.
RUBBER fuses the best elements of Russian Absurdist literature with American splatter films, dark black comedy, incredible casting, and a kick-ass soundtrack. If you missed it at Fantastic Fest, please come out and see it this weekend. If you did witness it back in September, watch it again. This one matures with age and absolutely lends itself to repeat viewing. Quentin Dupieux (notorious DJ Mr. Oizo) has crafted one of the most unique and wonderful films in recent years and we as a nation need to rise up and support his vision.