This toothless, silken-looking satire takes aim at easy targets: white Williamsburg ennui, technology, yoga. Set a few eyeblinks into the future, Creative Control centers on David (Benjamin Dickinson, who directed and co-scripted with Micah Bloomberg), an advertising executive in charge of a campaign for augmented-reality glasses.
Claiming a pair — which resembles a retro-standard Warby Parker model — for himself, the adman, growing restless in his relationship with his yogi girlfriend (Nora Zehetner), uses the specs to create a sexually compliant avatar of Sophie (Alexia Rasmussen), the significant other of his philandering photographer pal Wim (Dan Gill).
Creative Control is not a film of ideas — unlike, say, Spike Jonze’s similarly themed Her, which grapples with the folly of attachment in our overly mediated lives — but rather of Brooklyn-brand signifiers. Jonze’s film includes a brief yet potent mention of Alan Watts, the Zen philosopher; Dickinson’s features Reggie Watts, the “disinformationist” playing himself in a hazily sketched cameo. “Augmenta is not Main Street — it’s Bedford Avenue,” David boasts of the company his firm is repping.
Creative Control likewise appears too eager to extol the L-train monuments that are supposedly its quarry: The Wythe Hotel is name-dropped and checked into numerous times. The film’s monochrome palette and crisp lensing lend it a well-defined severity otherwise wholly lacking.
Directed by Benjamin Dickinson
Opens March 11, Landmark Sunshine