Summary
In an era where the metropolitan landscape has become a claustrophobic maze of unattainable leases and indifferent landlords, Joe Rock delivers a kinetic performance as a man pushed to the brink of domestic extinction. Rolling Home serves as a biting, albeit whimsical, critique of the 1920s housing crisis, transmuted through the lens of slapstick ingenuity. When Joe finds himself priced out of every four-walled sanctuary, he refuses to succumb to the despair of the dispossessed. Instead, he orchestrates a radical architectural intervention: the construction of a fully functional, albeit precarious, residence atop a standard automotive chassis. This mobile domicile becomes a theater of the absurd, where the mundane rituals of coffee-brewing and sleeping are constantly threatened by the jolts of the open road. Accompanied by the spirited Ella McKenzie and the comedic prowess of Buddy Williams and Billie Rhodes, Joe’s vehicular homestead navigates a society that demands stability while simultaneously making it impossible to afford. The film is not merely a collection of gags but a sophisticated satire on the commodification of shelter and the resilience of the human spirit in the face of bureaucratic stagnation.
Synopsis
The difficulty in finding an apartment is satirized in this comedy in which Joe solves the problem by building a house on the chassis of an auto.
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