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RUBBER (2010)—Albert Camus, this one's for You.
Manage episode 291261246 series 2841664
On this week’s deep dive, The Cultists Present Quentin Dupieux’s ‘Rubber’ (2010). Notoriously known as that movie where a tire gains psychokinetic powers and just enough sentience to go on a killing spree, this film often gets tragically mis-labeled as your standard B-rated monster movie horror romp. And yet, Rubber is anything but. Once and best described as ‘Samuel Beckett by way of Roger Corman,’ from surface to core, "Rubber" is a modern staple of absurdist theater lovingly transposed to celluloid. Pulling from classical absurdist plays like Eugene Ionesco’s The Chairs; enacting human-pawn replicas of the weirder particulate behaviorisms of quantum mechanics; and weighing in on the old Aristotle debate on the proper use of The Chorus in Attic dramas, Rubber is A LOT of things. (And all of those things are pretty damn spectacular).
Deep dives for this one include: Albert Camus, Martin Esslin, and The Theater of the Absurd; Absurdism vs. Surrealism; psychokinesis vs. telekinesis; the music of “Mr. Oizo”; The August Schlegel vs. Aristotle approach to interpreting the function of the Greek Chorus; Eugene Ionesco’s use of chairs; Tom Stoppard’s use of the invisible conceit of the actor-audience bond, and, of course, quantum mechanics.
Episode Safe Word: “rationality”
72 episode
Manage episode 291261246 series 2841664
On this week’s deep dive, The Cultists Present Quentin Dupieux’s ‘Rubber’ (2010). Notoriously known as that movie where a tire gains psychokinetic powers and just enough sentience to go on a killing spree, this film often gets tragically mis-labeled as your standard B-rated monster movie horror romp. And yet, Rubber is anything but. Once and best described as ‘Samuel Beckett by way of Roger Corman,’ from surface to core, "Rubber" is a modern staple of absurdist theater lovingly transposed to celluloid. Pulling from classical absurdist plays like Eugene Ionesco’s The Chairs; enacting human-pawn replicas of the weirder particulate behaviorisms of quantum mechanics; and weighing in on the old Aristotle debate on the proper use of The Chorus in Attic dramas, Rubber is A LOT of things. (And all of those things are pretty damn spectacular).
Deep dives for this one include: Albert Camus, Martin Esslin, and The Theater of the Absurd; Absurdism vs. Surrealism; psychokinesis vs. telekinesis; the music of “Mr. Oizo”; The August Schlegel vs. Aristotle approach to interpreting the function of the Greek Chorus; Eugene Ionesco’s use of chairs; Tom Stoppard’s use of the invisible conceit of the actor-audience bond, and, of course, quantum mechanics.
Episode Safe Word: “rationality”
72 episode
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