Car-sharing isn’t just about saving money—it’s about the unexpected connections that form when strangers share a confined space for hours on end. But what happens when those fleeting encounters become the heart of a genre-defying film? That’s exactly what Austrian director Sebastian Brameshuber explores in his latest work, London, premiering at the Berlin International Film Festival. Described as neither a documentary nor entirely fiction, this film blurs boundaries in the most intriguing way.
Set against the backdrop of the A1 motorway (Westautobahn), a highway linking Vienna and Salzburg, London follows Bobby Sommer as Bobby, a perpetual driver who picks up passengers through a car-sharing service. His fellow travelers are a diverse bunch: a young man grappling with mandatory military service, a queer woman on the brink of marriage, a supermarket trainee, and an academic delving into the highway’s history. But here’s where it gets controversial: the film’s central concept—car-sharing—isn’t just a plot device; it’s a deeply personal experience for Brameshuber himself, who once relied on this mode of travel between Vienna and Berlin. He argues that the unique dynamics of long car rides with strangers foster a particular kind of conversation—one that’s both intimate and detached, as you’re forced to look ahead while engaging with someone beside you. Does this resonate with your own experiences of shared travel? Or is it a stretch to build an entire film around such a niche concept?
Shot in a studio to mimic the confined space of a car, the film allowed for free-flowing, unscripted conversations. Brameshuber occasionally guided Sommer via earpiece, prompting him to explore certain topics. And this is the part most people miss: the film isn’t just about the characters—it’s a portrait of contemporary Europe, captured through these fleeting interactions. But is this approach too ambitious, or does it brilliantly capture the essence of modern connectivity?
The Westautobahn itself carries a dark history, designed by the Nazis to create a picturesque route. Brameshuber, known for his fascination with historically charged locations, highlights how this past remains largely invisible, buried beneath bridges and viaducts still in use today. Is this historical layer a clever addition or an unnecessary distraction?
The film’s title, London, is equally thought-provoking. Originally called In Current Traffic (a nod to digital navigation systems), it evolved into London as Brameshuber neared completion. The title references Bobby’s past trip to the city as a young man, symbolizing freedom and self-discovery. But does this poetic association feel forced, or does it elevate the film’s themes?
Brameshuber’s casting process was meticulous, focusing on young individuals who could balance openness with an air of mystery. His inspiration for Sommer came from Warren Oates’ character in Two-Lane Blacktop, a film where a driver constantly reinvents his story for different passengers. Is this homage a clever nod to cinematic history, or does it overshadow the film’s originality?
As London debuts, it leaves us with a question: Can a film built on car-sharing conversations truly capture the complexities of human connection and European identity? Share your thoughts—agree or disagree, the discussion is wide open.
