Rubber 2011

In a barren California desert, a diverse group of spectators gather with anticipation to witness a peculiar “film.” As the sheriff, Chad, observes, many cinematic moments unfold for seemingly “no reason,” a philosophy that resonates throughout both the film they are about to watch and the narrative itself. This leads to a reflective exploration of life and the absurdity inherent in it. The audience, equipped with binoculars provided by an accountant, eagerly directs their gaze into the horizon, waiting for the film to commence. Occasionally, the audience reappears, sharing their reactions and interactions related to the strange occurrences.

Meanwhile, amid the dusty landscape, a tire named Robert abruptly gains consciousness, embarking on a bizarre journey of self-discovery. Initially, Robert learns to stand and later to roll across the desert floor. His initial encounters are bizarre: upon finding a plastic water bottle, he hesitates before crushing it, swiftly followed by a similar fate for a scorpion. The encounter with a glass beer bottle proves more complex; unable to crush it through sheer weight, Robert experiences a moment of intense vibration, eventually causing the bottle to shatter through his unique psycho-kinetic abilities. This escalation of power culminates in him making both a tin can and a rabbit explode, showcasing his newfound capabilities.

As fate would have it, Robert notices a woman, Roxane Mesquida, driving by and attempts to exert his powers over her, but his effect is limited to stalling her car instead. As he rolls toward her vehicle, an unexpected truck collides with him, severing the connection he had with her car, which promptly starts again, allowing her to drive away. In a fit of rage, Robert extracts revenge on a pied crow and later seeks out the truck’s driver, resulting in a violent explosion.

Robert soon finds himself in a desert town, where he discovers the woman in her motel room. Through the open door, he spies on her while she showers. Following a comical mishap with a motel maid who discovers him, he retaliates violently, leading to a series of chaotic events. Chad, now on the scene to investigate the string of murders, navigates between the narrative and a meta-commentary, providing insight into the unfolding chaos.

In the midst of this absurdity, the accountant attempts to hasten the film’s end by presenting the audience with a poisoned turkey dinner, yet a lone man in a wheelchair remains steadfast, avoiding the meal and surviving. Following this, the accountant witnesses the monstrous tire commit further murders, which piques Chad’s interest, propelling him into action. Even as others face their untimely ends, including the accountant himself who mistakenly consumes the deadly food, the tire continues its rampage.

As the police chase Robert, a scene unfolds where a bonfire of tires draws his attention, showcasing the absurdity of the situation. Three days later, the aftermath of the tire’s killing spree is revealed as law enforcement discovers it glued to a television set, relishing in an auto racing show. In a climactic moment, Chad devises a trap to eliminate Robert once and for all, utilizing a mannequin resembling the woman that Robert had been infatuated with, rigged with dynamite. Yet, as fate would have it, the dynamite fails to detonate after Robert destroys the mannequin’s head in a fit of outrage.

In a final confrontation, Chad resorts to gunfire, killing the tire. The bizarre series of events takes another twist when a tricycle emerges from the house, taking down the surviving man in the wheelchair. As the film closes, the tricycle rolls away, trailed by other tires, making their way to Hollywood, punctuating the entire saga with a sense of absurdity and the eerie unpredictability that defines both life and cinema itself.