Edgar works as a waiter in 'Het Westen', a restaurant. He is married and has a lover. His neighbors terrorize him with loud music and garbage. One day after he is mistreated by some customers he is sick of it all and goes to talk to his creator, the scenario writer.
There is nothing strange or bizarre enough in the world of my favourite Dutch director, Alex van Warmerdam. And here he gives us perhaps his most surrealistic film yet.
What happens when a character in the film you're watching decides he's had enough and confronts the screenwriter of said film with this, demanding a better life. On a superficial level, this kind of meta awareness is not that original, but in the hands of van Warmerdam it turns into a hyper-realistic tragedy with wry humour and absurd observations about the pettiness of life and desire.
Because we are shown that the characters we are watching aren't real and never will be, they are allowed to be larger than life and…
Cuando una película va sobre la insatisfacción y terminas de verla profundamente embargado por dicho sentimiento ¿La peli es buena o mala?
I loved the shit out of Borgman so I decided to check out some of the director's older work and since Ober was the most recent I decided to start with it. I'm really not sure what I thought of the film, I enjoyed the humor and the way the films deals with the abnormal concepts but overall it just felt a little cluttered and unfocused.
Just discovered this Holland director. His ideas are fresh. This one is not so good like Borgman, because its litlle bit slow
Edgar's weapon-purchase scene is Pythonesque brilliance; watch it for this alone.
Ober in fiammingo vuol dire cameriere. Il cameriere è qualcuno che fa quello che gli viene detto e prova ad essere gentile ma c'è sempre qualcuno che avrà da lamentarsi. In un film scritto e diretto da Alex van Warmerdam un cameriere non è mai solo un cameriere ed i personaggi non sono quel che appaiono e quel che sono non è che la costruzione di quel che gli altri vogliono, di quello che il mondo vuole che siano.
Riflessione pungente, ironica e surreale sulla confusione dell'io e la non realizzazione della propria inclinazione ed identità, nelle forme di una scrittura nella scrittura con annesso sadismo e commiserazione dello scrittore che riflette nelle sue opere le ansie e le frustrazioni del suo vivere.
La visione beffarda di un mondo e di una vita che non sarà mai come vogliamo che sia, al punto che accontentarsi ed arrendersi sembra essere la sola possibilità.
Lauter interessante Ideen, die leider letztendlich etwas unausgegoren in zu bekannte Bahnen laufen. Trotzdem: toller Film.
How hard is it to review an alex van warmerdam movie? Very.
They are absurd, and beautiful. Makes you think about the kind of society we live in. You just have to watch and experience it, and think if your life is a little better after. Mine is.
"Who am I?!" Edgar screams at his creator, the writer telling Edgar's story. The writer is unable to answer him, or only gives him vague answers.
This film is about the meaning of life, about what one's role is in life, what purpose anyone has, about being creative, and the process that come with creating anything.
The characters, at first only Edgar, but it derails from that, want answers anyone in real life has asked. They wonder what the entire purpose of life is. Why certain things happen the way they happen. Only, as opposed to real life, in this case they can directly face their creator, begging him to change certain aspects of their lives. Edgar has a sick…
Alex van Warmerdam modifies The Tale of the Dream Machine.
Two films released in 2006, STRANGER THAN FICTION in the US and OBER in the Netherlands, feature a protagonist who is or becomes aware he is a character in a story. This is coincidental, but not surprising, because this type of story in which we question the reality of the world around us is quintessentially post-modern (THE TRUMAN SHOW, THE MATRIX, THX 1138, DARK CITY, SHUTTER ISLAND, EXISTENZ, ETERNAL SUNSHINE OF THE SPOTLESS MIND, INCEPTION, etc).
OBER is nothing new to cinema then, but it is new to Dutch cinema in which there is usually very little stretching of the imagination of this sort. No surprise that it is Alex van Warmerdam who tells us this absurd little story, both…