“Love, Brooklyn” is a tribute to the people and places of Brooklyn, showcasing the talents of its three appealing lead performers. In this entry of Sundance’s US Dramatic competition, Andre Holland, Nicole Beharie, and DeWanda Wise portray professionals in a love triangle set in New York. The first feature film for director Rachael Abigail Holder and writer Paul Zimmerman is a subtle romantic adventure brimming with warmth, serving both as a tender study of the still-changing neighborhood and a character-focused affection.
Casey (Beharie) and Roger (Holland) used to date, and now they are just friends. Or are they? It seems that both have romantic feelings for each other and cherish their moments together. At the same time, Roger’s casual relationship with grieving widow Nicole (Wise) changes dramatically when her small daughter, Ally (Cadence Reese), begins to see him as a paternal figure. These characters are also described as having a type of life they only live professionally as being “Brooklynites.” Roger is a journalist whose current job is to write an in-depth article on how this part of New York City has developed, especially how the Black population is faring, while Casey is gallerist for an art gallery she has to literally fight to keep operating due to gentrification.
Zimmerman’s script is a blend of micro of the characters’ interrelationships and the macro of the socio-economic development of the place they dwell in. It has a keen eye on people of modern Western society in their 30s and 40s and is very observant of the effects of contemporary sociocultural trends on them: How does one start or end a relationship, or date when a child is involved in the picture? holder frames the actors with subtle softness to their gaze; he captures the small ripples of feelings the characters have while struggling with relationships.
Most importantly, the film captures the essence of what Brooklyn represents to its residents, capturing the unique culture and rhythm of life. The filmmakers know the kind of people who reside there and understand how they speak their activities, and their occupations. They even satirize the juxtaposition of Brooklyn’s inhabitants with those from Manhattan and Los Angeles a blend of laid-back and cool, and uptight and pretentious. To this reality, Holder adds to his credibility by flourishing the frame and the soundtrack with dynamic works by local visual artists and songs from local musicians, which enhances their credibility.
“Love, Brooklyn” portrays its characters most effectively in several distinct moments that illustrate the story of one single day in a city that many people surely have experienced: the day you anticipate spending with people you like, but to your annoyance, you encounter others you hoped to avoid. The day is punctuated by small fights, regrets, and emotions brought about by the wrong words uttered at the wrong time, alcohol bringing to the surface emotions and truths that should have remained buried. Feelings are hurt, relationships are evaluated, and the day concludes with genuine insight and heavy sighs.
Holland clearly has strong chemistry with Beharie. The moments when Roger and Casey tease each other show that some underlying romantic tension still exists between them. The two actors are so at ease with each other that the audience wants to see this relationship succeed, even as the script shows that they are not compatible. It is refreshing to have Holland showcase his romantic heartthrob credentials, which he hasn’t done since “Moonlight” and should do more often. Beharie gets the first showcase of her captivating big screen presence since her last Sundance hit 2020’s “Miss Juneteenth” as the mercurial confident Casey. Wise is relaxed and easygoing as Nicole’s mother and lover, lovingly hinting at her struggle. All three are amazing and the love triangle feels authentic and appealing.
Calgary, 8 November 2023 When the plot of the film zeroes in on the trio, it is highly engaging. However, other characters meant to represent the various people of Brooklyn are not well developed. Freeman, Cassandra, the self-obsessed art collector managed to get a few satirical laughs. In addition, crowd scenes, whether outside in parks and streets or inside at parties are unnaturally sparsely populated. It could be a limitation of the budget but for some reason, it feels inaccurate for what is supposed to be an animated part of a major city.
Brooklyn, New York has been described as many things. The elements of each application are entwined with history, economics, culture, politics, day-to-day life, and global celebrity status. Relatively little coverage has come out of the region considering its scale. The film equally does very little to discuss the presented themes. What divorce, marriage, and child adoption are supposed to represent in the bigger picture of gentrification is puzzling.
There remains no question that Holder and Zimmerman understand and love Brooklyn. It is a stroke of luck that they found these three actors who, with such ease, manage to create so much emotion that it makes the romantic story captivatingly real. Because of these reasons, “Love, Brooklyn” is worthy of being watched outside the borders of Utah.
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