Computer Chess (film)
| Computer Chess | |
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Theatrical release poster
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| Directed by | Andrew Bujalski |
| Produced by | Houston King Alex Lipschultz |
| Written by | Andrew Bujalski |
| Starring | Patrick Riester Wiley Wiggins Myles Paige Robin Schwartz Gerald Peary |
| Cinematography | Matthias Grunsky |
| Edited by | Andrew Bujalski |
| Distributed by | Kino Lorber |
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Release date
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Running time
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92 minutes |
| Country | United States |
| Language | English |
Computer Chess is a 2013 independent comedy-drama film written and directed by Andrew Bujalski. The film premiered at the 2013 Sundance Film Festival, where it won the Alfred P. Sloan Feature Film Prize, and subsequently screened at such festivals as South by Southwest and the Maryland Film Festival.
It is Bujalski's second black-and-white film, and was shot with analog videocameras. It is more improvisatory than his previous films, with only an eight-page treatment for a script. Bujalski also cast nonprofessional actors who were knowledgeable in computer technology.
In 1980, an annual gathering of teams of idiosyncratic nerds compete in a nondescript California hotel to see which of their computer programs can best the others at computer chess. A grandmaster (Gerald Peary) presides as master of ceremonies with a videographer and microphone in tow. Clunky, primitive personal computers are carted from room to room. Bad haircuts, dorky shirts, “birth control glasses”, and other social impedimenta are ubiquitous. Bull sessions on the dystopian possibilities of artificial intelligence are pursued. The Pentagon's interest in the goings-on is intimated. The only female geek (Robin Schwartz) in attendance is repeatedly hailed and “welcomed” by the MC.
Simultaneously at the same hotel, a human potential movement group (the “seekers”) has occasional run-ins with the geeks, generating awkward and humorous moments. A painfully shy young computer programmer (Patrick Riester) attracts the interest of a swinging older couple (Cyndi Williams and Chris Doubek). The twin threads of “spiritual” exploration and cybernetic innovation imply an unspoken and implicit hidden connection. In a startling final scene, a prostitute — apparently solicited by the young programmer — reveals herself to be infinitely more than expected.
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