A daring, captivating love story in South London – The Hollywood Reporter

Get the plot of one of the Richard Linklater Prior to movies, combine it with Wes Anderson’s eye-catching aesthetic, then put it in the ethnically diverse, photogenic South London enclave of Peckham, and you’ll end up with rye lane.

Starring charismatic couple David Jonsson (Industry) and Vivian Oparah (teen spirit) as a soon-to-be couple who spend a long, action-packed day testing each other around the film’s main road, the rather addictive debut of the colorful and intelligent Raine Allen-Miller. when laughing out loud. But most of all, it manages to make an old story new. This Sundance premiere by Searchlight Pictures will help put their talented first-time director on the map.

rye lane

Key point

A cute and cool meeting.

Place: Sundance Film Festival (Premiere)
Cast: David Jonsson, Vivian Oparah, Karene Peter, Benjamin Sarpong-Broni, Malcolm Atobrah
Manager: Raine Allen-Miller
Writer: Actor: Nathan Bryon Tom Melia

1 hour 22 minutes

We’ve all seen: the cute meeting of two attractive young men in recovery, the story of their horrible ex, flirting and avoiding, looking forward to their first kiss, rejection and life inevitable meeting. Allen-Miller, working with a screenplay by Nathan Brion and Tom Melia, includes all of these elements in rye lanemix them together and then add her own special sauce to give it just the right flavor.

Part of that comes from the undeniable charm of her two main characters, who bring two very different types of energy to their characters: Johnson plays Dom, a boy with a face Sweet, reserved still lives at home and recently learned that his six-year-old girlfriend. For years, Gia (Karene Peter), bullied him with his best friend, Eric (Benjamin Sarprong-Broni). Oparah’s Yas is the exact opposite: outspoken and bold, she lives alone and is trying to be the costume designer in the movie. But she’s also been through an uncomfortable breakup and, unlike Dom, it seems she’s ready to move on.

Of course, opposites will attract, and Allen-Miller sets the stage from the very first scene — which takes place in the bathroom of an art gallery — for a brief encounter that will bring Dom and Yas come together for the next 80 minutes. The film’s brevity makes perfect sense and hardly a moment or place is wasted, as the director follows her two lovebirds through Peckham’s heart and soul ( plus a short foray to neighboring Brixton), where they wandered around the indoor and tree-lined markets. fenced blocks, in a vibrant community of people of African and Caribbean descent.

Shot on the big screen Anamorphic by the talented Olan Collardy, also his feature film debut, rye lane Packed with the assortment of colorful frames and the front or back track shots that Wes Anderson – whose name is checked in the opening sequence – is known for. But while Anderson’s films tend to focus on closed worlds and humorous historical anachronisms, Allen-Miller takes that style to the streets, turning a familiar story set in the ordinary. into something more special.

There’s also more of a hip-hop vibe to play here, from the side plot that revolves around Yas stealing A Tribe Called Quest’s main LP Low level theory from her cocky artist ex-boyfriend (Malcolm Atobrah) to an exhilarating karaoke version of Salt-N-Pepa’s “Shoop” that she and Dom performed in front of a cheering crowd.

Comedy in rye lane also feels fresh, especially the flashy jokes that Dom and Yas constantly engage in — and this Yankee reviewer could probably have used some of the subtitles. Allen-Miller introduces us to two smart and sly Londoners for whom angering each other is the highest form of flirting, and while Dom at first glance seems like the quiet type, he’s proven himself. on par with Yas in terms of countermeasures. It was their words that brought them together more than anything else.

Things are more or less going where you’d expect them to be in the finale, which gets too cute for its own good. In that sense, rye lane ultimately still within the framework of the genre, even if Allen-Miller does a great job of thinking outside of it. She seems to use the genre as a template to explore the things she knows and loves: the people, places, sights, and sounds of a neighborhood that she both captures and celebrates on the big screen, turning reality into a daring fantasy.

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