Vibrant South London rom-com Rye Lane – from director Raine Allen Miller – fizzes and pops with an immersive exuberance from the outset. Plunging audiences head first into Yas (Vivian Oparah) and Dom (David Jonsson) spending their first day together putting the world to rights.
Part urban snapshot and inner city travelog, this rowdy romantic comedy is a melting pot of cinematic invention, which is grounded by some seriously solid character work from an eclectic ensemble cast. Using real world locations to really get beneath the skin of contemporary London, our two 20-something headliners run with this script, helping to jump-start events with two perfectly impassioned performances.
As they meander their way across the city sharing breakup stories, which are kept visually on point with an ongoing stylistic Annie Hall homage, Rye Lane begins to feel intoxicating. Cultural touchstones which are forged from the merging of so many influences onscreen begin coloring the edge of every frame, as the wry indie drama continues to build momentum.
Dialogue exchanges are both smooth as silk and savagely sarcastic, whether between our two leads or those unique character creations they come across. Social media messaging is a slick and savvy way to squeeze in exposition without dropping the ball, while one-off encounters with scene stealing ensemble members come thick and fast.
Out on a lunch date with his ex-girlfriend Gia (Karene Peter) and her new man Eric (Benjamin Sarpong-Broni) to smooth the waters, Dom is unexpectedly joined by Yas, who goes to town on them both on his behalf. Awkwardly comical yet polished, a karaoke flashback tells the tale of their imaginary first date, which succeeds in leveling the emotional playing field.
Cutting back and forth between the faces of Gia and Eric, who are slack jawed and awe-struck respectively, Yas helps Dom salvage some dignity from the situation before they hightail it out of there. Moving on, our dynamic duo then head over to her ex-boyfriend’s family, so that Yas can retrieve his keys and liberate a favorite piece of vinyl.
Braving the extended family, this new wannabe couple navigate aunties and uncles, not to mention copious amounts of rum and reggae music. With tunes pumping, alcohol flowing, and Yas working her magic – Dom is soon enlisted to find those house keys. After a stone-cold slice of smartphone comedy gold, an unfortunate encounter with an over-packed knicker drawer, and suspicious glances from everyone – Yas and Dom make it out in one piece.
In that brief moment of BBQ screen time, director Miller really captures the sense of community which so defines Rye Lane, as people come together and enjoy good company. More than anything, this desire to depict an authentic London is what lifts this drama throughout, and ensures these people rarely feel like works of fiction.
With all the bravado of a seasoned professional, Miller follows our intrepid heroes into central London, where famous landmarks will put most audiences on familiar ground. Not only allowing the closing scenes of this magical indie film to really come alive, but also taking advantage of that well known skyline in the process.
That Rye Lane also happens to be an understated piece of social commentary, which openly explores a global fascination with objectification is also worth noting. Up and coming London based artist Nathan (Simon Manyonda) focuses on body parts through his work. In the beginning mouths and teeth dominant his photography, while later on that turns its attention towards rear ends.
That being said, even with a thematic pre-occupation on appearances, Rye Lane still feels refreshingly old-fashioned, as Dom and Yas gradually give in to the attraction they feel. Even though the subtle interference of friends, relatives, and complete strangers seeks to see them parted – this London based rom-com rarely drops the ball because of their on-screen chemistry.
Flitting around the capital drinking in every drop of visual inspiration, there is even time for an unexpected cameo, which will leave audience members gob smacked. Unshaven, donning a dirty apron, and casually low-key serving chili, this Oscar-winning actor proves to be the finishing touch audiences never knew they needed. A fact which makes this vibrant Sundance entry even more memorable.
