Electroma

If you're a fan of Daft Punk you aren't automatically going to like this movie. And if you're not a fan of Daft Punk you aren't automatically going to dislike it. No music by Daft Punk. No dialog or flashing helmet text. Ambient sound. And Curtis Mayfield.

Electroma plays like a festival art film, yet it's more accessible to the audience than the "Cremaster" movies and more thoughtful and varied than "Zidane". In essence, the movie comprises five set pieces. It opens with a drive through the desert, then a town. The second set involves becoming human. They then re-enter the robot world in a Frankenstein-esquire reversal, playing off of Icarus. The fourth part brings the sad realization of returning to robotic roots. Fifth, they walk through a desert, which comprises the longest part of the film.

I recommend it for the art-house/festival crowd. No dialog, an atypical plot-line, and lengthy sweeping pans will certainly turn away some fans. It is pretentious to a degree, I won't deny it, but compared to Cremaster (an unfair comparison, yes, but it's the most widely seen), Electroma doesn't require pre-emptive knowledge for the deciphering of the symbols, which tells you what you're watching. You can absorb it without extreme cerebral input.

It's slow. Like Tarkovsky or Herzog. Don't expect hyperactive techno robots.

You'll be hard-pressed to find this film, as Daft Punk does not intend to ever release this film on DVD. See it at a festival or snag a bootleg. It's worth the time.

A bit pretentious, a bit obvious, overlong, even at 74 minutes (this would have been a brilliant 40 minute short), but still full of arresting images and surprisingly emotional moments.

Influenced heavily by Kubrick, Antonioni and most of the great 60s and 70s visualists, this is a wordless film about two robots who want to become human. The action is minimal. The opening drive through the desert alone takes a good 15 minutes.

But it's wonderfully shot, and the use of eclectic source music as score (Brian Eno, Curtis Mayfield, etc) is interesting, if sometimes a little too self-conscious or intrusive.

I doubt there are more layers to be found on repeated viewings, I think it is what it is: an experimental film more full of image than story or ideas. A 74 minute, interesting rock video.

But every time I'd head toward terminally bored, an image or feeling would reel me back in...

(www.plasticpals.com) Electroma is the story of two robots (Daft Punk) who break from the norm to express their inner individuality in a world populated by robots, with disastrous consequences. This is an experimental film with no dialog whatsoever, running a generous 74 minutes, and some people may feel it drags on a bit in parts. Even fans of Daft Punk may be left scratching their heads since it doesn't feature their music but, supposedly, it syncs up with their album Human After All ala Pink Floyd/Wizard of Oz. If you are not into experimental film you will probably much prefer their animated excursion, Interstella 5555, which I highly recommend.

I haven't tried synchronizing it to their album but I enjoyed it just fine, though it should be said I'm a fan of unusual movies. The photography is very professional considering they are amateur film makers, and there's enough here to keep your interest, all without the need for words. I hope they'll continue exploring their visual creativity through cinema in the future, and if it sounds like something you might enjoy, check it out.

If anything, Electroma should be taken just like any other experimental, art-house cinema film. This is borderline impossible when it's not just Electroma, but "Daft Punk's" Electroma, the tag line is "It's a Daft Punk vision" and you've got the Daft Punk logo emblazoned on the back of the two protagonists' jackets. For this, I feel like the film falters from a bit of ego, but just think how much worse it would've been if they'd used their own music.

That being said, as a so-called art-house picture, Electroma is okay. There isn't much plot to follow and the "HUMAN" license plate is about as trite as calling this an interpretation of the difficulties of fitting into society, but in terms of something to look at, it's really really gorgeous. Considering Bangalter had little to no experience in cinematography prior to this, he's done a fantastic job. Each shot is quite beautiful in its own way, aesthetically speaking, particularly the final one.

What I'm trying to say is, don't go into Electroma expecting brilliance, because it isn't. Take it for what it is: a mildly pretentious if not borderline dull, yet visually stunning piece of celluloid. It's ripe for interpretation (or none at all) which will grant it some sort of cult following. Hopefully a midnight-film of sorts.

P.S. The soundtrack they did choose complements the film perfectly. And if "the" notorious desert close-up scene doesn't get this passed around film circles for years to come, I don't know what will.

I think there is a lot to be said about experimental film. I saw the film on the beach at Cannes, and for all I know, the guys could have been sitting next to me. In a search for a human existence, two robots wander somewhat endlessly until they finally find a way to end it all. The film is making a remarkable statement on today's world. It raises so many great questions, and the only problem is that sitting through two hours of wandering characters takes an audiences expectations to another level. Fellini was able to allow his characters to roam, but in that wandering so much happened, and his characters were intellectually credible. In the case of Electroma, the lack of events is very anti-film. Everything which they have done with this film leaves the audience questioning, why? We love films because of what happens in them, not because of what doesn't happen. I think that Daft Punk's attempt to find something else in this medium is quite brilliant, yet it falls short of entertainment. The visual means in which they reached certain points was incredible, but finding a way through the monotony was difficult for some. The ending was fantastic though, and I wish they push the limits even more in their next take on film.

We are all robots who sculpt our own plastic faces. We are all wandering robots with no place to fit in. Maybe I am analyzing too much, but to go to such realms with out symbolism in some higher meaning would be a waste. Perhaps that is what they were out to do. Perhaps they were just creating a (beautiful) moving painting. Maybe just messing with our heads. Regardless, they were up to something, and we will just have to see what comes next to see whether or not they're full of it.

I do give them credit for the silence. It spoke louder than any music they've ever written.