Upstream Color

Seeing Upstream Color, written and directed by and co-starring Shane Carruth, at the Melbourne International Film Festival was a welcomingly refreshing experience. It’s a fantastic follow-up to Carruth’s Primer, which I consider more incomprehensible than Upstream Color, despite the realistic approach.  As is the case with Primer, Upstream Color is quite challenging, and the abstract connections in the film make it even more so. Amy Seimetz and Shane Carruth pull of great performances as the lost and confused Kris and Jeff, and Carruth’s score is immersive and hypnotic – in fact the whole film has that magnetic quality to it.

Of course, as with Primer, multiple watchings and turning your brain cells to overdrive are probably necessary to fully understand the dream-like strangeness of it all – but then, that’s sort of the point. And if you need answers now, they are already waiting:

FAQ: Upstream Color – by Forrest Wickman

How Shane Carruth’s Upstream Color Explains Your Dysfunctional Relationships by Charlie Jane Anders.



Accidentally stumbling across interesting directors is always exciting. Emily Kai Bock’s videos are so enthralling, but I’m struggling to work out why. Her clip for ‘Oblivion’ by Grimes is also fantastic fun, both with brilliant film cinematography by Evan Prosofsky.

To the Wonder – making of

I think for once I can genuinely say there really aren’t any spoilers, unless you don’t want insights into Malick’s process – but who wouldn’t? I’m already excited. It’s a shame Australia has to wait till April.

Celia Rowison-Hall’s ‘The Audition’

Celia Rowinson-Hall‘s work is utterly enthralling in its seeming simplicity. The Audition is one of her latest films, and a great example of her incredibly effective, minimalistic approach.

‘for every
out there.’

— Celia Rowinson-Hall

A History of the Title Sequence

The 2012 Vimeo awards motion graphics winner, this two minute piece from Jurjen Versteeg highlights the often overlooked people behind some of the most famous title sequences in cinema. My only criticism is that it wasn’t long enough – a few more title homages couldn’t hurt, surely.