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…

"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’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…

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…

I applaud this film for pursuing an original vision and telling a story in its own idiosyncratic way. But man was it rough. Ever since this was in theaters I have heard this film extolled by many in the indie film community. I expected it to be abstract and DIY; I did not expect it to deeply involve pigs. The intricacies of its plot drag it down at nearly every turn. The premise itself feels overly contained and too neatly delineated. Unfortunately, the script is just absolutely brittle, both at the scene level and a structural level. The ending could have been much more provocative, but it feels as though Carruth reached for the escape valve before arriving anywhere that…

"I want to go where you go."

For long stretches of this I felt absolutely certain that I was watching a generation-defining masterpiece. Shane Carruth's vision is so completely total and absolute, creating an abstract, dense world that makes its own sort of sense inside its hyper-complicated miasma, hazy and scattered the same way the mental states of the characters are hazy and scattered by their experiences. Carruth himself and Amy Seimetz are tremendous in the lead roles, creating a relationship we only see frantically edited snapshots of in truth but that feels real, textured and rooted in primal emotion. There are so many potential avenues to explore here, from life cycles to human connection to behavioral patterns to observation,…