SYNOPSIS
“There is no Here here.” A character simply named “Old White Male” (John Erdman) holds court in the lobbies of various apartment buildings in Buenos Aires and expounds with measured disgust on death, consciousness, and the state of contemporary human relations. The man’s mostly unsolicited remarks form an unsparing, stitched-together modern-day monologue that alternates between absurd and chilling, reasonable and grotesque. The sequel to THE LAST CITY.
REVIEW
Lobby features John Erdman, who has previously embodied Heinz Emigholz's persona in films like Streetscape (Dialogue) and The Last City. In this film, Erdman sits in the lobby of a Buenos Aires building—a liminal space designed for brief encounters, neither fully inside nor outside. The audience is left to ponder: who is this "old white male"—both Erdman himself and the character he portrays—waiting to meet in this in-between space? While Lobby might initially appear to be a monologue due to its continuous stream of soliloquy, it reveals itself as a complex and imaginative dialogue. The character, as in previous works, engages with various psychological, philosophical, and even theological issues. Through nuanced acting and bold editing techniques, Emigholz creates the illusion of the man conversing with himself, achieved through his distinctive reinterpretation of the shot-reverse-shot technique. Given that the character reflects aspects of Emigholz himself, the film becomes a multi-layered conversation: between the director and his character, and by extension, between the director (or character) and the audience. The relentless flow of dialogue oscillates between probing inquiries and sharp wit, resulting in a film that is both intellectually rigorous and incisive. While many films attempt to delve into deep reflections on civilization, Lobby stands out as a singular and unparalleled work. It's brought to life by Emigholz's distinctive cinematic language, offering viewers a unique exploration of self, society, and the spaces we inhabit.
09-30(MON) 10:30 - 11:46
