‘Obex’ Review: Lo-Fi Fantasy in Love With Outdated Technology Offers an Earnest Warning

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In the living room, Conor Marsh (Albert Birney), a 36-year-old man residing alone with his dog Sandy in Baltimore of 1987, spends numerous hours immersed in late-night horror movies and recorded programs on a system made up of three vertically stacked CTR TV sets. The collection of thrilling tales and fleeting visuals stored on tapes forms an analog library, which is one of the many nostalgic elements found in “Obex,” a charming miniature epic steeped in melancholic whimsy and presented in black-and-white with a low-fi aesthetic.

As a passionate admirer, I can’t help but express my awe for the thought-provoking fantasy that delicately explores the dangers of relying on digital connections over real-life relationships. This masterpiece is the brainchild of Birney, who wore multiple hats as writer, director, editor, and lead actor, in close collaboration with Pete Ohs, credited for his work as cinematographer, co-writer, and co-editor. Together, they are also responsible for most of the subtle yet profound visual effects. The blend of their creative efforts results in a unique world-building experience, reminiscent of a bygone era. This is cinema at its finest, handcrafted with care.

Conor, who earns a living by digitally recreating photos on his Mac, hardly ventures out of his home for necessities like groceries. Instead, neighbor Mary (Callie Hernandez) takes care of that errand for him. The sound of cicadas outside his door serves as an eerie reminder of the lively, chaotic world beyond his secluded suburban realm.

Despite merely watching the media he consumes, Conor decides to actively participate by sending a video of himself and Sandy for digital versions to be integrated into a novel computer game named OBEX. On one unfortunate night, following a playthrough of an underwhelming floppy-disk adventure game with pixelated visuals, Sandy vanishes. The villain is IXAROTH, a malevolent digital spirit formed from blinding, erratic light. Although its mask design bears resemblance to Birney’s prior creative work, “Strawberry Mansion” (co-directed by Kentucker Audley), the nature of IXAROTH recalls the horned being in Carlos Reygadas’ groundbreaking film “Post Tenebras Lux.” To save his cherished dog, Birney’s solitary character must venture into OBEX’s fantastical medieval world, inhabited by peculiar creatures, and vanquish IXAROTH in its castle.

Obex” has some similarities to Jane Schoenbrun’s film “I Saw the TV Glow” from last year. Both films are captivating and carry a cautionary tale about the dangers of excessive media consumption, suggesting that it can blur the line between reality and fantasy. However, while the former focuses on a more mainstream narrative, the latter delves into darker themes, exploring the complexities of repressed identity. The directors in both films grapple with their affection for the entertainment that influenced them, acknowledging that life through screens may provide an illusion but can never truly replace the richness of real-life experiences.

In a less sprawling fashion than “Strawberry Mansion,” but with ideas just as grand, “Obex” seems apt for today’s world. Whether staring at his computer screen or his vertical TV pillar, Conor yearns for endless diversions from the present reality. The older technology that Birney and Ohs affectionately revere may be clunky, but it serves the same purpose, and can inflict similar harm as a smartphone today. However, it’s their immediacy and the dangers of the internet’s global reach that make these modern devices portals into unimaginable voids. With a look of wide-eyed wonder, Conor once proposes that someday everyone will live inside computers, to which one can only respond: If you only knew.

In my critique, I delve into the heart-wrenching depths of Conor’s dreams and nightmares, masterfully depicted by Birney in a series of vividly haunting scenes that bring his deepest fears to life, compelling him to rise as the protagonist of his own narrative. The film’s visual aesthetic is truly captivating, with its exquisitely tacky costume and set design, complemented by Ohs’ masterful use of monochrome shots against bold artificial backdrops. This unique blend of timeless and contemporary elements creates an otherworldly atmosphere that “Obex” inhabits, making it a cinematic experience worth embracing, despite its intentional creative constraints. It is this inventiveness that makes the film truly shine.

As Conor pursues Sandy, propelled by Josh Dibb’s elevating synth music and echoing the movie’s 1980s essence, an extraordinary companion emerges: Victor (Frank Mosley), a man-turned-TV-head. Through their conversations, Conor shares his grief over his deceased parents, while Victor yearns for a paradise where gadgets we spend hours on could reverse roles and watch us instead. Curious about Conor’s idea of heaven, Victor prompts him, revealing the essence of what Conor had long been yearning for. Moreover, in the realm of OBEX, time flows at an accelerated pace, forcing our hero to confront his mortality head-on.

In the story, Birney’s character as a computer whiz initially thrives within the miniature world he’s created for himself. However, throughout the narrative, he undergoes a transformation, growing bolder. This change is rooted in the sincere innocence he exudes. Unlike traditional narratives that seek romance, “Obex” isn’t about romantic pursuit. Instead, it offers an unexpected and relatable journey. Although Sandy offers him comfort and companionship, Conor’s struggle is primarily internal. The true purpose of his journey through OBEX isn’t to fulfill emotional needs externally, but rather to rediscover the joy in living life again.

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2025-01-31 20:47