Filmkritik zu Upstream Color. Die Gefahr, in der Abwasserrinne zu landen: Upstream Color ist ein Film, der in den Zwischenräumen zu erzählen. Upstream Color ist ein US-amerikanischer Science-Fiction-Film aus dem Jahr Es ist nach Primer der zweite Spielfilm von Shane Carruth. Wie schon bei seinem Erstling verfasste Carruth für den Film das Drehbuch, führte Regie, übernahm eine der. Shane Carruth, USA, , 96min, Nach PRIMER (, s. S) ist UPSTREAM COLOR erst der zweite Film des Universalisten Carruth. Wie sein Vorgänger.
FilmdatenblattShane Carruth, USA, , 96min, Nach PRIMER (, s. S) ist UPSTREAM COLOR erst der zweite Film des Universalisten Carruth. Wie sein Vorgänger. Die Identität des Einzelnen ist eine Illusion. Komplette Handlung und Informationen zu Upstream Color. Hier droht Übles auf den ersten Blick: Ein Mann züchtet. Entdecke die Filmstarts Kritik zu "Upstream Color" von Shane Carruth: Gleich mit seinem Erstling „Primer“ entzweite Shane Carruth die Zuschauer des.
Upstream Color Movies / TV VideoShane Carruth - Upstream Color (Full Soundtrack) Der Regisseur spinnt sein schweinisches Würmer-Universum so in sich stimmig immer weiter, dass das Finale nicht nur überraschend, sondern auch verblüffend schlüssig erscheint. Birdman oder die unverhoffte Macht der Ahnungslosigkeit. Vormerken Ntv App Funktioniert Nicht Mehr Zur Liste Kommentieren. Mit Hilfe einer Transfusion extrahiert der Mann den Parasiten und transferiert ihn in ein Schwein. Upstream Color. 96 minutes. Sci-fi & fantasy. Add to Wishlist. $ Rent. $ Buy. A woman (Amy Seimetz) is abducted and hypnotized with an organic material harvested from a specific flower. When she falls for a man (Carruth) the two come to realize he may also have been subjected to the same process. They search urgently for a. Upstream Color. () IMDb 1h 36min 13+. A woman (Amy Seimetz) is abducted and hypnotized with an organic material harvested from a specific flower. When she falls for a man (Carruth) the two come to realize he may also have been subjected to the same elchahuistle.com: Sci-Fi. Looking at the source code, you want to use upstream as the slot name: [color "branch"] upstream = bold blue It looks like more up-to-date man pages also have the option listed. The ones you were looking at are probably older than (which is when the feature first appeared). Strange, profoundly abstract, and inaccessible on a narrative level, Upstream Color is a hard film to describe, and a chore to analyze. The film revolves around an unlikely couple, who both share a. Directed by Shane Carruth. With Amy Seimetz, Frank Mosley, Shane Carruth, Andrew Sensenig. A man and woman are drawn together, entangled in the life cycle of an ageless organism. Upstream Color () IMDb 1h 36min 13+ A woman (Amy Seimetz) is abducted and hypnotized with an organic material harvested from a specific flower. When she falls for a man (Carruth) the two come to realize he may also have been subjected to the same process. That said, the Blu Ray Release of “Upstream Color” is a nicely packaged and well preserved print of this fine film. The cover opens like a book and is nicely made. Beautiful print of film. The latest tweets from @upstreamcolor.
Officially the weirdest movie i have ever seen. Don't go in thinking you will "get it" on your first viewing, because you won't.
Beautiful cinematography and top notch editing make this art house film one to remember, and possibly understand, on further viewings.
Peter B Super Reviewer. Mar 01, Strange, profoundly abstract, and inaccessible on a narrative level, Upstream Color is a hard film to describe, and a chore to analyze.
The film revolves around an unlikely couple, who both share a bizarre affliction from an obscure organism. It's a film that is not concerned with coherence, with traditional narrative, or with resolution.
Like Tree of Life, it's a film that requires a complete surrender in order to be appreciated. In that sense, what success Upstream Color achieves is because of your pure immersion in its nebulous and chillingly veiled world.
Trying to follow Upstream Color in a narrative sense is a fairly impossible task, especially on its first viewing.
This inaccessibility was frustrating, at first, but waned after the film's daring, bold, and spellbinding atmosphere took center stage.
When taken on its own terms, the film is an entertaining experience. The score is magnificent, accentuating the narrative, and taking the place of the sparse dialogue.
Director Shane Carruth is masterful in his editing, seamless in his cuts, and brilliant in his pace. We are shown a series of captivating scenes and images, with little to no sense of context or place, only to be left mesmerized.
The film gets away with doing this both because of the skill of its composition, but also in that its clues start to paint a larger mosaic towards the end, pointing to a picture which starts to emerge.
The characters in Upstream Color feel real, and are very well portrayed. We see the enormous struggles they've gone through, the confusion they face every day, and yet the resilience they show.
The "sampler" character in particular is very enigmatic, embodying the film as a whole. Carruth does a good job keeping the attention focused on these characters, such that we resonate with their journey, even though we don't understand what is exactly taking place.
My obvious reservation about Upstream Color is that the film is too inaccessible. It's difficult to distinguish illusion from reality, even at the ending of the film.
Without a more refined ending, the film's interpretations are simply too large. Had a little more been explained, the film could still have kept its mystique, while allowing for greater audience appreciation.
Jeffrey M Super Reviewer. Feb 24, Things are going upstream, and they're colorful, so from what this title is telling me, this should be a rather uplifting film, right?
Well, in all fairness, these characters are going upstream in a creek, without a paddle, so I guess the title should sort of let you know what to expect.
Hey, there is a degree of joy to be had here, because whether you like Shane Carruth's overly experimental films or not, it's nice when someone turns out to be alive.
Well, don't get too excited yet people, because he might kill himself yet if he directs, writes, produces, edits, scores, designs, casts for, and stars in yet another film, as such an unreasonably, but admittedly cost-efficient series of jobs is apparently so stressful that Carruth, I don't know, slipped into a coma or something after "Primer", back in Man, he hasn't been around in a whopping nine years, though I don't know if I can so much blame a coma, or whatever it is that's been holding him up on working too hard as hard as I can blame, say, Carruth actually watching one of his films.
Boy, this guy can sure make cinema so slow that not even he can stay awake through it, and if you don't believe me, just look at the poster in which he I don't know, fell asleep in the tub Hey, there's a certain elegance to that poster, but not even the marketing is all that focused, so you know that this film gets to be misguided, which isn't to say that it doesn't have aspects worthy of, not simply complimenting, but praising.
As you can imagine, there's not much for the performers to work with in this abstract character meditation that is much more focused on style over substance and characterization, but for what they're given to do, these talented relative unknowns prove to be more effective than the offscreen performances, and that particularly goes for leading lady Amy Seimetz, whose subtle emotional layers and near-haunting atmosphere sell some of the more distinctly dramatic elements in the non-narrative.
About as, if not more emotively effective as highlights in the performances is, of all things, Shane Carruth's score, which may not be particularly dynamic, but remains absolutely outstanding in its impeccably tasteful techno-ambience, which, more often than not, warmly carries the ethereal thoughtfulness of the more quiet meditative moments, without all of the tedious dryness, whose prominence reflects an underusage of the musical artistry, especially in comparison to the visual artistry.
Just as it is a remarkable musical experience, - when the score is actually utilized, that is - this film is admittedly nothing short of a triumph of visual style, for Carruth, as cinematographer, takes notes from and, in some places, improves upon Emmanuel Lubezki's recent efforts with Terrance Malick with near-spotless definition behind bitingly crisp lighting and breathtakingly profound coloration that, while consistently beautiful, is richly dynamic in its particular style, often complimented by nifty framing and shaky cam plays that may be too experimental to immerse you in the film's plot, but surely immerses you in the film's environment.
I almost hate to admit it, considering my not liking the film, but it's hard to see another film of being this visually spectacular, and when you couple the visual artistry with the musical artistry, a haunting aesthetic value is crafted, playing an instrumental role in securing the final product from contempt, but not without being well-utilized by genuine strengths in Carruth's efforts as director.
Carruth's directorial efforts, like the efforts of many other film "artists" like him, are much more misguided than bad, for although Carruth's non-storytelling and punishing dryness are too questionable to be endearing, stylish editing and clever plays on Pete Horner's sound mixing and editing help in drawing you into the film, while a celebration of the aforementioned musical and visual strengths have their moments of effectiveness which move as a reflection of a much more realized drama.
At the very least, Carruth's artistic ambition charms, not so much pretentiously demanding your respect, but carrying a heart to it that is endearing at times, especially when inspiration meets ambition and delivers, at least aesthetically.
There's something very Terrance Malick about this film, and, quite frankly, that just goes to show you how subtle touches can make all the difference in films like this, because where Malick feels controlled enough in his plays with film artistry of this type to compel serviceably, maybe even reward, through all of the misguided artistry, this effort goes a few steps too far and falls flat, not even giving you the courtesy of coherency within flesh-out.
Seeing as how there's no real plot to humor with characterization or any kind of development of that sort here, it should come as absolutely no real surprise that this abstract meditation is lacking in expository depth, but there's still something pretty aggravating about this drama's telling you nothing about its characters, pseudo-narrative, or mythology, and distancing you with a lack of development about as much as a lack of coherency, even in its artistic liberties.
The film is certainly unusual in its structure, but you've no idea just how unusual it is in its mythology, for although I suppose the film gets a good bit more grounded gets a little more grounded once Shane Carruth, as a lead performer, comes into play, the film backs set piece after set piece with bizarre imagery, figures and happenings that rarely, outside of the bare minimum of ways, connect, and could be easier to forgive if the film didn't seem to take its silliness so blasted seriously, often to the point of overplaying symbolism in an unsubtle fashion, that is, when thematic depth actually stands.
I don't know if this film is trying to say something so unconventionally that you can't get a grip on the themes, or if the film is saying anything at all, but either way, in spite of the occasional subtlety issue, I can't particularly tell what is trying to be said, for the film is ultimately way too abstract with its overwhelming strangeness, made all the more annoying by strange experimentations' even plaguing the non-narrative's structure.
Again, "storytelling", if you will, becomes a little more grounded around the film's body, but this effort, as well as being underdeveloped and overblown with style over substance, is more-or-less utterly unfocused, initiating something of a progression at times, only to swiftly abandon a potential extended plot for the incorporation of yet more aimless set pieces, as well as lapses in narrative consistency, until style completely overtakes substance.
It's very difficult to come close to fully describing the level of strangeness and abstractionism to this artistically overblown affair, but I believe I can simply say that the final product is all but devoid of coherency, having no focus to development, consistency or structure to compel all that much, and adding the ultimate insult to injury with sheer dullness.
When I said that this film takes its silliness too seriously, I meant that, on top of being misguided in its structure, the film is ethereal to the point of being tedious, underplaying kicks in artistic value, if not abusively misusing them to further, not so much immerse, but entrance in a manner that is not compensated for with effectiveness enough to be more than, well, frustratingly boring.
The film stands to be more frustrating, and were it to make the fatal move that other abstract art films of its nature make and substitute the charm of its artistic ambitions with out-and-out pretense which demands your investment, rather than requests it, the final product would have easily collapsed as contemptible, and yet, no matter how charming or difficult to judge this film is is in its artistry, - which still excels in plenty of respectable ways - it is still a misguided misfire that is undeveloped, overly bizarre, incoherent and, of course, boring, and through all of my admiration of its aesthetics, I cannot begin to recommend this aggravating abuse of artistic license.
Once the color has finally flowed away, strong performances, extraordinary score work, phenomenal cinematography and effective moments in at least charmingly ambitious artistic direction leave the final product to drift from contemptibility, but overt underdevelopment, strangeness, focal inconsistency and tedious dryness reflect an overblown abstractionism which renders Shane Carruth's "Upstream Color" a mediocrely misguided experiment in abstract filmmaking.
Cameron J Super Reviewer. See all Audience reviews. Wife: I just want to tell you that I hope today is better, and that I love you.
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If you take in the experience and open your mind to interpreting the film, it'll keep your brain going and haunt you indefinitely.
It's an experience comparable to such films as Mulholland Drive. This film is very stylish, with some beautiful photography and ingenious editing.
All actors put on decent performances, and they show a good blend of nuance and emotion. Writing is pretty weird, given the amount of strange and unusual dialogue.
This production uses excellent sets, props, and costumes. The music score is very exquisite. While Primer was a film that appeals on an intellectual level, Upstream Color appeals best to the artistic side of the brain.
If you're susceptible to strange, abstract films that require lots of brainpower to interpret and understand, then this one is a perfect puzzlebox for you.
Casual audiences might want to approach this with caution. All Titles TV Episodes Celebs Companies Keywords Advanced Search.
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DID YOU KNOW? Crazy Credits. Alternate Versions. Rate This. The film was shown at South by Southwest on March 8, Upstream Color received widespread critical acclaim.
The site's critical consensus reads, "As technically brilliant as it is narratively abstract, Upstream Color represents experimental American cinema at its finest -- and reaffirms Shane Carruth as a talent to watch.
Sam Adams of The A. Club gave the movie an "A" and wrote, "having the movie wash over me was one of the most transcendent experiences of my moviegoing life".
Adams wrote, "It's utterly perplexing, and heart-stoppingly beautiful, quite literally overwhelming", comparing parts of the movie with Terrence Malick 's The Tree of Life In these Malick Moments, time becomes as circular as the rising and setting of the sun.
Olsen of the Los Angeles Times wrote, "With its densely layered, thematically rich storytelling, Upstream Color is in part about the mutual psychosis that can be an essential part of romance, the agreement of a shared madness.
It's intense and hypnotically powerful, and a more intimate and moving film than Primer. Color is somehow at once emotionally direct, while narratively abstract.
Jeremy Kay of The Guardian thought the film "a baffling, opaque mess" and said that it "contains striking microscopic imagery, cute pigs and alarmingly aggressive foley work.
It's meticulous, methodical and educated — but also extreme, and extremely pretentious",  though his colleague Peter Bradshaw called it a "flawed, experimental, fascinating film".
Upstream Colour has the makings of a cult movie, though it's not a cult I feel inclined to join. The Hollywood Reporter declared that "Carruth's is a cinema of impressions and technique, not overt meaning" and gave a positive review: "The experience of watching the film They both remember and don't remember things from the past and sometimes argue over whose memory is whose.
The Salt Lake Tribune reviewer wrote that the "head-scratching science-fiction drama, about people finding themselves connected to each other and a parasite's life cycle, is beautiful to watch and contemplate.
All of this unfolds in free-associative fashion, with one scene barely seeming to connect to the next. Similarly, The Miami Herald called it "a puzzle that may be impossible to solve", saying that Carruth's "mesmerizing use of imagery—of textures and sounds, of crisp lighting and radiant natural beauty—has a haunting, lyrical quality reminiscent of Terrence Malick But he also injects some moments that are so horrific and squirm-inducing, they're downright Cronenbergian.
Although its title suggests a sense of direction, Upstream Color defiantly eschews a traditionally linear narrative format; it moves ahead in time but in an elliptical, hypnotic way.
And Carruth's rhythmic style of editing draws you in and keeps you hooked even when it may not be entirely clear what you're watching. He's technically meticulous but the results are dreamlike.
The Film School Rejects reviewer gave an A- grade; he praised the film's "ambitiously big and brave themes" and the "finely effective score.
The film review website The Dissolve rated Upstream Color 5 in its list of the top 5 films of At the Sundance Film Festival , Upstream Color received the Special Jury Award for Sound Design , which was shared by Carruth, Johnny Marshall, and Pete Horner.
The Georgia Film Critics Association nominated Upstream Color for six awards, including Best Picture, Director, Actress, Original Screenplay, Cinematography and Score.
In addition to her nomination for Best Actress, Amy Seimetz was also included in the Breakthrough Award category. The soundtrack for the film features music composed by Carruth.
It has been described by one reviewer as "a moving, symphonic and emotional score". From Wikipedia, the free encyclopedia.
Shane Carruth Casey Gooden Ben LeClair Scott Douglass. Amy Seimetz Shane Carruth Andrew Sensenig Thiago Martins.
Shane Carruth David Lowery. Release date. Running time. The Numbers. The Los Angeles Times. Retrieved December 5, Retrieved 6 August Retrieved December 6, Retrieved January 31, March 8 - Film and Interactive PM Edition".
South by Southwest. Archived from the original on March 24,Upstream Color ist ein US-amerikanischer Science-Fiction-Film aus dem Jahr Es ist nach Primer der zweite Spielfilm von Shane Carruth. Wie schon bei seinem Erstling verfasste Carruth für den Film das Drehbuch, führte Regie, übernahm eine der. Upstream Color ist ein US-amerikanischer Science-Fiction-Film aus dem Jahr Es ist nach Primer der zweite Spielfilm von Shane Carruth. Wie schon bei. Upstream Color. ()IMDb 6,71 Std. 36 Min Das Leben eines Mannes und einer Frau wird von einem Parasiten beeinflusst, einem fremden, ewig. Upstream Color sperrt sich dem kognitiven Verstehen. Der Film sperrt sich auch einer einfachen Nacherzählung. Man kann ihn maximal erfühlen — und selbst.