Written and directed by Benjamin Rider, The Mux follows an aloof DJ called Rex (Javier Cáberiz) who thinks he exists on a higher cerebral plane than all other humans. He wallows in his own issues with fame and the monotony of touring and playing shows. He laments relentlessly, and wanders aimlessly. Caught up in his own head, there is no visible drive or passion to propel him forwards. Just an endless solipsism that forces Rex to continually look inwards.
Rex was a big shot DJ and producer, playing shows in many different countries. But the fact that fame and fortune comes with its own set of difficulties is well known. He suffers a kind of mental break that leads to an endless searching. The sense of searching and questioning forms the main thread of the film. The thread becomes difficult and laborious to follow, however, as there is no motivation or real tangible struggle for viewers to engage with. Almost everything Rex feels and thinks exists on a higher plane than everyone else. Or at least he thinks it does. This makes him a very difficult character to empathize and align with.
This distancing between viewer and character is intentional, however when the chasm is too gaping, and there is little story for the viewers to latch on to, the narrative becomes fairly pointless. A film without a point isn’t necessarily a bad film, but I think The Mux is either trying too hard to make a point, or too hard not to make a point. The result is a plot that feels as though it doesn’t move beyond the exposition phase. Although we repeatedly hear long, introspective monologues from Rex, there is no development to his character or the situation he experiences. There is no flow or change to incite intrigue or excitement. The narrative therefore becomes like white noise. No light and shade. The supporting characters around Rex are similarly shallow in presentation and are often introduced in rather confusing ways. There’s a young woman who is bemused by Rex’s decision to have a one bed apartment when he has the money for a mansion. It seems the vibe was to make the woman look like a shallow gold-digger and highlight the fact that Rex is tormented by a desire for normality that no one else understands. While this is a valid torment, the film doesn’t quite nail it and Rex continually falls into the bracket of pretentious snob.
He treats everyone he engages with in the same rude, aloof manner which makes all of his interactions quite boring and predictable. The main character of a film doesn’t have to be likeable by any stretch, but they should be engaging. Think Patrick Bateman from American Psycho or Travis Bickle from Taxi Driver.
When Rex concocts the idea that deafness will make him a better musician, it starts to feel like the film could go somewhere. But the film doesn’t lean confidently enough into it. Rex has the idea, the ghost of a singer-songwriter tells him making himself deaf won’t make him a musical genius, he does it anyway, and then the film ends. If you take away all the wiffle waffle, at its core, this could have been a good story. The notion of a musician who is so desperate for the next big thing that he causes himself physical harm is engaging. A once prominent public figure gone completely off the rails is engaging. But we just never seem to get to this point of engagement. Although the deafness story line is intriguing, it’s purpose isn’t well enough defined for it to be effective. At one point it seems Rex wants to experience deafness in order to become a musical genius – to unlock new creative potentials. But then he chooses deafness in order to escape sound and his job. The lack of clear motivation combined with the deliberately confusing nature of the narrative continues to alienate the viewer.
The aesthetic elements of the film are creative and visually engaging. They also align well with its general chaotic nature. The audio and visual repetitions cleverly mimic a broken record and work well towards creating a specific vibe for the film. This vibe could be described as a trip due to the psychedelic weirdness. These elements do all fit well within the narrative and but don’t succeed in making The Mux a particularly enjoyable watch despite their creative merit.
I think toning down the pretentiousness, even if the pretentiousness was intentionally elevated for satirical purposes, would be beneficial for the viewer, and striving for a more compelling, structured narrative would ensure Rider’s interesting ideas can be explored in a way that does them justice.
Watch the trailer below.