Upstream Color (2013)

10 of 10

Personal Bias Alert:  tepidly responded to Carruth’s previous film “Primer,” linear narratives aren’t necessary

            Making a movie is a communal process, impossible to do alone, but writer/director/actor/editor/composer/ect. Shane Carruth is closest thing to a one-man movie maker that I know of.  He made a name for himself with 2004’s “Primer,” a twisty sci-fi story that confused genre aficionados and real-life scientists alike (I have a biology degree and didn’t understand all the science).  While many loved it enough for it to gain a cult status, I responded very mildly to it, but was intrigued by the man who put it all together.  With so much input, the responsibility falls largely on his lap, and a person’s response or criticism feels intensely focused on the man instead of the movie.  With this in mind, I’m happy to report that Carruth’s second film “Upstream Color” is a marvel to experience.

            I chose the word experience carefully, because this film doesn’t operate like most films.  The plot is murky, clear enough to get the general idea but impossible to totally understand.  Movies are described this way more often than they deserve, but here it’s earned.  Anyone who claims to figure out all the plot points after one viewing is lying either to you or to themselves.  It’s an intentional effect.  Confusion is what the film’s about and forms its heart and soul.

            What’s discernible is this:  A woman named Kris (Amy Seimetz) is drugged by a man who convinces her to liquidate as much of her money as she can so he can steal it.  The drug is the product of a rare worm, which alters the user’s personality for a long period of time.  Kris awakens with no memory of what happened, and her life spirals downwards as a result.  She later meets Jeff (Carruth), and they fall into a deep, understanding love.  Both seem to have been exposed to the drug, which they are unaware of, but they recognize that the connection between them is of an unusual sort.  There’s also something about ambient noise, a pig farmer, and the novel “Walden.”

            Incomprehensible plots can be frustrating, but here we have something palpable to hold on to:  the relationship between Kris and Jeff.  Both are flailing, unable to understand why their lives took such a dramatic turn.  They are drawn to noises and patterns they didn’t notice before, and can spend hours indulging in these little obsessions.  They allow each other these indulgences, even when they recognize how inexplicably bizarre they are.  As viewers, we understand that the pull to these things, and the pull between Kris and Jeff, are related to the drug, but like us they never fully comprehend the reasons.  They cling to each other only because they derive some level of comfort from the relationship, and that’s an affirming notion.  Comfort is a hard thing to find in this world.  We don’t always understand why we are drawn to one thing over another, and analyzing it gets you nowhere.  Like Kris and Jeff, you just need to hold on to it, even if it comes from something silly or incomprehensible.

            Other notes:

Ø  Carruth’s biggest weakness is his acting.  Seimetz is phenomenal, and the difference between their skill levels is noticeable.

Ø  The sound editing is played up here to show how the drug alters the users.  It’s well done without being overbearing.

Ø  Filmmakers seem to think that the weapon of choice against worms crawling under your skin is a chef’s knife.  Personally, I would want something with a little more finesse.

Ø  This is my favorite film of 2013.