Drive

TWO MEN, A DRIVER AND A PASSENGER, are car-pooling to work every day for ninety minutes through the barren suburbs of Los Angeles. The driver is a brilliant theorist and cultural analyst who's been driven close to insanity by the vicious cycles of daily life and their eternal repetition. He's against all kind of spontaneity and knows all his tautological essays by heart. He torments his passenger by ceaselessly describing them to him, without a trace of compassion. The passenger, on the other hand, is a completely normal young man, unsure of his place in the world, preoccupied with a failed love-affair. The film investigates a number of difficult topics and complicated theories while it tells the simple story about the driver's and the passenger's last trip together.
COMMENT:
WITH DRIVE I'VE TRIED TO TRANSGRESS what is usually significant of naturalistic films (the so called realism). My goal was to create a cinematographic expression of a multi-sided introspection, where the style and the filmic codes emphasize the content. I've also tried to deal with the heart of what sometimes is called hyper-realism, the mental process regulating creativity and communication. That's when the simple drive to work is transformed to a metaphysical journey through time and space. Film is the perfect medium for that journey. Two men, locked into a man-made construction of steel and glass, select, in their longing for freedom, their own thoughts' power of imagination as travel-company. It then becomes clear that man's fantasy is the only possible way of escape to freedom. _
JEFERY LEVY