Like its predecessors, Cyberman follows an eccentric on a quest, but instead of being at odds with nature, MIT-schooled professor and self-described cyborg Steve Mann is vehemently opposed to the intrusive character of modern technology and our media-saturated culture. He rebels by using mostly jury-rigged technology directly hooked up to his body to filter out a reality he considers oppressive. The ironic nature of this response isn’t lost on Lynch, but as usual his approach towards his subject is ambivalent. Mann is less comic a figure than Project Grizzly’s Hurtubise; there’s something decidedly forlorn about him, perhaps most evident in the scene where he talks about losing a childhood friend. And Mann’s need to control his environment isn’t simply an act of rebellion; it stems also from his own controlling nature and less than gifted attempts at social interaction. Beautifully edited by Caroline Christie, Cyberman uses a barrage of different formats, including footage shot by Mann himself, in order to reflect its subject and his fixations. “The most important Canadian film this year . . . a provocative documentary by Canada’s most talented feature documentarian” (POV Magazine).