DRIB (2017)

DRIB is special because it feels like a comedy made out of the internet’s nervous system: a sly, ambitious satire that keeps daring you to ask what’s real, what’s staged, and who benefits when a “story” becomes a brand. Kristoffer Borgli turns the almost-true tale of a comedian/performance artist flirting with accidental corporate fame into a brilliantly timely riff on media manipulation, where every polished image has fingerprints on it. The vibe is deadpan, mischievous, and quietly unnerving in the best way, with Brett Gelman injecting the kind of sharp, unpredictable energy that makes scenes crackle. It’s not for everyone—its experimental, meta approach can feel like a prank with a point—but if you enjoy comedy that bites back and leaves you thinking about the ads you’ve swallowed whole, it’s a must-watch.

DRIB is trying to be a sly, meta-satire about branding, art, and how easily “selling out” can be repackaged as performance, and you can feel the ambition in its mock-true-story setup. The problem is it often turns that ambition into noise: it’s busy, oddly unfocused, and so wrapped up in its own irony that the jokes and point can start to blur into something a bit dull. If you love self-referential, deliberately messy comedy that plays like a prank on the audience, you might enjoy the ride and the occasional sharp observation. If you want a clear narrative, a strong comedic payoff, or satire that lands with precision rather than vibes, this likely won’t be your energy drink.