Gámer

Original title: Гамep

Directed by: Oleh Sentsov

Country: Ukraine

Length: 92 min.

Year: 2011

Premiere: Rotterdam Film Festival 2011 

Availability: Takflix

Synopsis: Alex, nicknamed Koss, strives to become a world champion videogamer.  

RATING: 2.5/5

 

REVIEW

Nothing is real, everything is permitted, is the motto of a popular videogame. Somehow, Oleh Sentsov's debut feature unintentionally elaborates on this, on the notion of reality and irreality, albeit not in an expected way, considering its subject. 

Gámer focuses on a specific world, that of gamers, in a specific timeframe, the first decade of the 2000s, when the concept of twitch stream and making a living off this form of entertainment was still unheard of. Yet, the protagonist is indeed looking for something similar, to be able to live off his gaming skills, to become a pro. This is not as easy in 2011 as it would be today. In its essence, the film therefore ends up featuring a classic narrative centered on a character with irreal dreams that has to come to terms with reality - an abstraction that is heightened by the fact that his aspirations are connected to a virtual realm.

Entirely by accident - mostly likely due to the low budget, approximately 20.000 euros - the film ends up using visual strategies that are very close to the televisive documentary form: footage shot at real conventions, "stolen" shots of unaware crowds, it is a film that sometimes feels like a compilation of random footage that somehow merged into a feature film. 

It is a debut film, yet this is appariscent not by some usual clue such as unoriginality or lack of a personal touch, but due to some technical errors here and there: some scenes on the bus have a terrible audio quality, for instance. Oleh Sentsov did not study filmmaking, and his film's errors are familiar to anyone who started making films on their own. What shows skill is his ability of turning flaws into stength: the final shot freezes on a frame that compltely proves the Kulešov effect, and seems open to interpretations. When the shot moves on, it is revealed to be likely an outtake, a glimpse of the reality behind the fictional frame of the film. Certainly it is nothing unseen before, but in the context of a low budget film by a self-taught filmmaker, this sort of metafictional meditation has its merit.

Occasionally, for scenes in more controlled environments, Gámer shows glimpses of an unttainable depth. The dream sequences, but even some other scenes where nature is involved - unexpectedly frequently, for a film about such a subject - show the will in this film to try to reach a beyond, a deeper realm, without grasping it. 

Under most aspects, Gámer feels limited similarly to how someone who studies a new language, at first has to struggle with vocabulary and grammar. Sentsov in Gámer still is unable to express himself fully, be it the overly small budget, the technical shortcomings, or rookiee profesionality, but it is clear that he has something to say.