Shane Carruth's previous film, Primer, is a very clinical and cold film, yet nine years later he returns with Upstream Color, a film grounded in emotion and warmth. This is a film with a love story at its core, and like Primer, the science fiction elements are secondary to the exploration of the character's relationship. Since this film hasn't reached a wide release yet, I will spend the first paragraph addressing why one should see it, without spoilers, and then I will continue with my analysis of the film.

Upstream Color is a film that expects a lot from its audience, and the form of the film is definitely challenging. Yet Carruth grounds his film in the characters, and the…

Shane Carruth’s belated follow-up to his befuddling debut, Primer, proves no less puzzling yet for markedly different reasons. Primer was intricately plotted yet, given the time and inclination, its multiple narratives could be untangled. Upstream Color is far more abstract and elusive and I suspect clarity will never be forthcoming no matter how many times you attempt to decipher its mysteries. It is also a far more emotionally engaging story compared to the sterile coldness of his time travel darling.

Upstream Color is a woozy and elegiac tale of love, loss and connections. Its story is not easily explained, not without reducing its plot to New Age twaddle, nor easily understood. It is dense, thematically perplexing and hauntingly hallucinatory -…

Shane Carruth’s alluring Upstream Color is Invasion of the Body Snatchers for the art house crowd, with hogs replacing pods and identity crisis substituting for McCarthyism. That may be an awfully crude comparison but it’s the overall gist I got as I watched this beguiling, beautiful film. One thing’s for sure, the plot’s mind-control science fiction aspect plays only second fiddle to the transcendent yet universal overarching theme of emotional resonance in people in the vein of Henry David Thoreau’s literature. This is an ambitious, dense, slippery piece of experimental filmmaking with big ideas and Carruth conveys these enthralling notions through a masterwork in poetic editing, shot composition, and aural design.

First thing going in to this movie is to…

"I have to apologize... I was born with a disfigurement where my head is made of the same material as the sun."

one of the only love stories in recent memory that actually *does* make sense. certain films are often (and lazily) described as the kind of thing that you need to see twice, but it truly is sadistically cruel that the end of this film doesn’t immediately loop around to the beginning… not to plug holes, but to heal tissue.

a true headphone movie, if ever there was such a thing, it’s an analog romance about collective memory and fundamental togetherness, elliptically edited to the extreme, but done so with such organic forward motion that - at its best…

Shane Carruth when asked, what Upstream Color meant, reluctantly said that he does not prefer for it to have any single, specific interpretation. This statement, I comprehended to be his way of indirectly saying that if he were to spell out what it actually meant then it would take all the sheen, mesmerising beauty and the enigma of the film away. This is almost him saying he prefers people to come out with their own ideas and theories of it. Not only Upstream Color, but any abstract form of art deserves to be open to various interpretations, providing fodder for the brains of those who experience it and satisfaction that what they believe is the truth and that it was…

Shane Carruth is genetically interlinked to Neil Breen via a pig's orchid maggot-infested brain parasite fantasy projection. I never anticipated writing anything about this movie, so I will try to keep this short. Mr. Carruth has demonstrated in both this and his previous effort Primer that he is sorely lacking in acting chops regardless of his eye behind the camera, and while Upstream Color upstages its predecessor in both color and composition, not even Emmanuel Lubezki could have poetically swooped in and made this an enjoyable experience. Upstream Color has finally shown me what the hell people mean when they say an "art" film is pretentious. Not even Terrence Malick has tried to pull such a f"art"-fest of disjointed, aimlessly…

What draws us to one another? How can you explain the feeling you get when you meet someone for the first time and it’s as if you’ve known each other your entire life? Shane Carruth’s puzzling masterpiece, Upstream Color, is an artistic triumph, a one of kind exploration of the human condition that is a transcendent science fiction emotional epic. What begins as a hypnotic violation transforms into a careful examination of desire and intimacy, using philosophical concepts and poetic visuals to impart a story about breaking the chains that confine relationships and embracing the basic connections that define humanity.

Carruth wrote the script, which tells a cyclical love story that is compounded by a profound investigation of partnerships. Replete…

Shane Carruth is genetically interlinked to Neil Breen via a pig's orchid maggot-infested brain parasite fantasy projection. I never anticipated writing anything about this movie, so I will try to keep this short. Mr. Carruth has demonstrated in both this and his previous effort Primer that he is sorely lacking in acting chops regardless of his eye behind the camera, and while Upstream Color upstages its predecessor in both color and composition, not even Emmanuel Lubezki could have poetically swooped in and made this an enjoyable experience. Upstream Color has finally shown me what the hell people mean when they say an "art" film is pretentious. Not even Terrence Malick has tried to pull such a f"art"-fest of disjointed, aimlessly…