The Sundance Film Festival often serves as a barometer for the independent film landscape, showcasing emerging talent and unconventional storytelling. This year’s NEXT section featured a particularly intriguing example of the latter: OBEX, a lo-fi, black-and-white fantasy directed, written, edited, and starring Albert Birney. The film, which premiered on , is a deeply personal project born from a simple desire – to create something meaningful with friends.
Birney articulated this sentiment directly to the Sundance audience, stating, “This film, OBEX, I put everything I love into it. I made it with everyone I love, and I’m hoping to share that love tonight.” This collaborative spirit is evident in the film’s unconventional production process, unfolding over two years and largely shot within Birney’s own home.
The premise of OBEX is deceptively simple. Conor Marsh (Birney), a reclusive man living in 1987, spends his days creating computer portraits for clients he finds through advertisements in computer magazines, operating under the moniker “Computer Conor.” His limited social interaction is primarily with his neighbor, Mary (Callie Hernandez), who assists with groceries. Conor’s life takes a surreal turn when he purchases OBEX, a new computer game promising an immersive, choose-your-own-adventure experience where players can enter the game world to battle a mythical demon. However, the game’s premise proves far more literal than Conor anticipates, blurring the lines between reality and the digital realm when his dog, Sandy, goes missing and appears to be held captive within the game itself.
The film’s aesthetic is a deliberate throwback to the early days of personal computing. Shot in stark black and white, OBEX evokes the visual language of 1980s technology – boxy computers, slowly rendering graphics, and the glow of late-night television. This stylistic choice isn’t merely nostalgic; it’s integral to the film’s exploration of isolation and the allure of escapism. The soundscape, described as a “dense soundscape of warm droning synths, clacking keyboards, malevolent static, chirping cicadas, and the click and whine of dot matrix printers,” further immerses the viewer in Conor’s increasingly fragmented world.
The production of OBEX was remarkably intuitive, according to those involved. Cinematographer Pete Ohs, who also co-wrote, produced, and edited the film, described the process as “pure creative bliss,” akin to “15-year-old kids making a movie.” This sense of freedom allowed for spontaneous creative decisions. Hernandez’s extensive wig collection, for example, was incorporated simply because it felt right, and composer Josh Dibb’s musical cues were often finalized with minimal revision, based on Birney’s immediate reaction. “In a lot of cases, some of those cues happened in the space of 15 minutes, and he’d go ‘That’s it! We’re good.’ And I’d want to tweak it and he’d go ‘Nope! No tweaks. We’re done.’ I’d say, ‘But What we have is just a sketch!’ And he’d tell me it’s not a sketch. It’s done,” Dibb reportedly said.
The film’s unconventional nature places it within a lineage of low-budget, independent films that once defined Sundance. As one review noted, OBEX recalls the spirit of early works by Darren Aronofsky (Pi), Christopher Nolan (The Following), and Shane Caruth (Primer) – films made with limited resources and a strong personal vision. This return to a more grassroots aesthetic is particularly noteworthy given the festival’s increasing tendency to showcase films with established distribution deals and larger studio backing.
Reviews of OBEX have been largely positive, characterizing it as a “quirky, charming throwback” and a “lo-fi curiosity.” While some critics acknowledge that the film may not possess the emotional depth or technical polish of more mainstream Sundance offerings, its originality and heartfelt execution have resonated with audiences. One reviewer described it as a film that is “neither to overwhelm or underwhelm,” offering a solid, if not groundbreaking, cinematic experience. Another noted that it’s a film that feels like watching something from the festival thirty years ago.
Birney’s performance as Conor is also drawing praise. Despite being a self-directed effort, he manages to create a compelling and sympathetic character, investing the audience in his quest to rescue Sandy. Callie Hernandez provides a grounding presence as Mary, offering a touch of warmth and normalcy to Conor’s increasingly surreal world.
The film’s exploration of themes like companionship, isolation, and the blurring lines between reality and virtuality feels particularly relevant in today’s hyper-connected world. OBEX isn’t simply a nostalgic trip to the 1980s; it’s a reflection on the enduring human need for connection and the potential pitfalls of seeking solace in technology. The film’s success at Sundance suggests a continued appetite for independent, character-driven stories that prioritize creative vision over commercial expectations.
As Birney himself expressed, the film is a labor of love, made with and for those he cares about. That sincerity shines through, making OBEX a memorable and uniquely charming addition to the Sundance lineup.
