Grimly comic and intensely relevant, Copy Centre 2000 is a lacerating satire of the modern digital age.
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The print shop, a once-vital facet of society, is a hub of disturbing and absurd behaviour in the gimmicky fictional town of Quixo. Through the eyes of Reuben, Copy Centre 2000's laziest employee, we are introduced to a pool of increasingly unstable customers, deranged co-workers, insecure mafiosos, and sadistic mayoral candidates. Our disillusioned 20-something protagonist with fried dopamine receptors and an apathetic outlook on life is strung along a bizarre techno-odyssey as a helpless observer to the ever-mutating status quo.
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Exposing the farcical, digitally-absorbed dystopia of our own contemporary lives, Copy Centre 2000 is an unquestionably unique perspective on 21st-century living. Profoundly relatable, the film’s sense of humour is jet black as laser-printer toner, offering the bone-dry dialogue of the Coen brothers, and the postmodernist wit of Kurt Vonnegut. The screenplay’s unconventional story structure drives forward like a hurling river, as in a dream, dreamt by the subconscious of a rotten brain.
Grimly comic and intensely relevant, Copy Centre 2000 is a lacerating satire of the modern digital age.
​
The print shop, a once-vital facet of society, is a hub of disturbing and absurd behaviour in the gimmicky fictional town of Quixo. Through the eyes of Reuben, Copy Centre 2000's laziest employee, we are introduced to a pool of increasingly unstable customers, deranged co-workers, insecure mafiosos, and sadistic mayoral candidates. Our disillusioned 20-something protagonist with fried dopamine receptors and an apathetic outlook on life is strung along a bizarre techno-odyssey as a helpless observer to the ever-mutating status quo.
​
Exposing the farcical, digitally-absorbed dystopia of our own contemporary lives, Copy Centre 2000 is an unquestionably unique perspective on 21st-century living. Profoundly relatable, the film’s sense of humour is jet black as laser-printer toner, offering the bone-dry dialogue of the Coen brothers, and the postmodernist wit of Kurt Vonnegut. The screenplay’s unconventional story structure drives forward like a hurling river, as in a dream, dreamt by the subconscious of a rotten brain.
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