Rubber

A sarcastic surreal horror about an old tire that gains consciousness and superpowers — and rolls off to terrorize rural America.

You might’ve noticed that we program the lesser-known (but absolutely delightful) Quentin Dupieux quite regularly — we’ve really come to love his work. Because no one makes films like he does. All his movies are a parody of contemporary auteur cinema, an absurdist mockery of the rules and structures usually followed in filmmaking.

The plots of his films defy logic and common sense. Why? Rubber opens with a monologue by a cinephile policeman who crawls out of a car trunk and delivers a core idea for Dupieux’s filmmaking: much of what we see in movies happens for no reason. “Why, in Polanski’s film, does that guy have to hide and live like a bum even though he plays piano so well? No reason! Why is E.T. brown in Spielberg’s movie? No reason!”
 Achieving this no reason, breaking all cause-and-effect — that’s one of Dupieux-the-writer’s main goals.