Two attractive twentysomethings meet for the first time in a Manhattan restaurant and engage in obligatory small talk. What was intended to be a meeting between indie film director and potential star soon promises to be the beginning of a long and complex relationship that won’t end how either had planned.
So begins director Brian Ackley’s micro-budget bittersweet romance debut “Uptown,” shot guerrilla style with a skeleton crew in only nine days in various locations around New York City and New Jersey. The premise is familiar. Star-crossed romances makeup a large contingent of independent film. They’re cheap to shoot and just about everyone can relate to falling head over heels for that forbidden fruit. A new kind of hyper-realism, typified by the growing mumblecore movement, is also flooding the low-budget film world.
“Uptown” is neither a mumblecore film nor a stock doomed-romance picture, though it does exhibit properties of both.
So begins director Brian Ackley’s micro-budget bittersweet romance debut “Uptown,” shot guerrilla style with a skeleton crew in only nine days in various locations around New York City and New Jersey. The premise is familiar. Star-crossed romances makeup a large contingent of independent film. They’re cheap to shoot and just about everyone can relate to falling head over heels for that forbidden fruit. A new kind of hyper-realism, typified by the growing mumblecore movement, is also flooding the low-budget film world.
“Uptown” is neither a mumblecore film nor a stock doomed-romance picture, though it does exhibit properties of both.
- 7/29/2010
- by Eric M. Armstrong
- The Moving Arts Journal
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