Discover ‘Obex’: A Heartfelt Lo-Fi Fantasy That Cautions Against Embracing Outdated Technology

Conor Marsh (Albert Birney), a 36-year-old man, lives alone in Baltimore in 1987. His living room is filled with hand-labeled VHS tapes. He spends countless hours glued to late-night horror movies and recorded shows, all while his loyal dog, Sandy, lounges nearby. His setup includes three stacked CRT TVs, creating a quirky analog library of thrilling stories and fleeting images. The film “Obex” beautifully captures this nostalgic, whimsical world in black-and-white with its lo-fi vibe.

“Obex” explores the dangers of getting too comfortable with screens instead of connecting with real people. The film is a creative collaboration between Birney, who wears many hats as the writer, director, and star, and Pete Ohs, who is the cinematographer and co-writer. Together, they craft a unique universe with a retro flair, showcasing their skill in handmade cinema.

Conor is a recluse, making a living by redrawing photos on his Mac. He doesn’t even brave the outside world to get groceries, relying on his neighbor Mary (Callie Hernandez) to help out. The buzzing cicadas outside serve as a haunting reminder of life beyond his quiet suburban home.

Wanting more than just to watch, Conor sends a video of himself and Sandy to be included in a new interactive game called OBEX. One night, he tries the simple game but is disappointed. Then, Sandy mysteriously vanishes. The villain is IXAROTH, a digital demon made of dazzling, flickering lights. Although IXAROTH’s look is inspired by Birney’s earlier work, it evokes imagery from other films too. To rescue Sandy, Conor must enter OBEX’s strange medieval world and defeat IXAROTH in his castle.

“Obex” bears resemblance to “I Saw the TV Glow” by Jane Schoenbrun. Both films reveal how media obsession can disconnect us from reality. They show a love for storytelling while warning against letting screens take over our lives, emphasizing that experiences in the digital realm can never replace real life.

While “Obex” is more focused than “Strawberry Mansion,” it still explores big ideas relevant to today’s world. Whether through a monitor or an old TV, Conor seeks to escape the present. The vintage tech he uses can distract just like today’s smartphones do, but today’s devices open doors to even darker places. At one point, Conor muses that one day everyone might live in computers—if only he knew the depths of that suggestion.

Birney dives deep into Conor’s fears, crafting vivid scenes that make him the hero of his own story. The film blends colorful costumes and imaginative sets with Ohs’ striking black-and-white shots, creating a timeless feel. It’s a charming film that charms viewers despite its quirky limitations.

On his quest to find Sandy, Conor meets Victor (Frank Mosley), a humanoid figure with a TV for a head. In their conversations, they share stories about parents and dreams of a world where screens can observe humans instead of the other way around. When Victor asks Conor about his ideal heaven, his simple wish reveals what he’s longed for—a minimalist beauty he’s overlooked. In the OBEX world, time moves faster, forcing Conor to confront his own mortality.

Birney’s portrayal of Conor reflects a journey from comfortable isolation to newfound bravery. The film isn’t about finding love; it’s about rediscovering life itself. While Sandy provides companionship, Conor’s true struggle is within, as he learns to enjoy the game of life again.