Psychotropic, romantic and beautiful like a scary dream, Shane Carruth’s long-awaited follow-up to “Primer,” is the self-distributed “Upstream Color.” Though it will undoubtedly divide, it has already, in its way, conquered many who’ve seen it. Our reviewer at Sundance was nothing short of enraptured by the film, and this writer wholeheartedly agrees after seeing it at the Berlin International Film Festival. There are very few films that have the power to stay with you, buzzing and humming below the surface of your consciousness for days after you see them, but the strains of “Upstream Color” still remain.
It’s called “The Modern Ocean.” There’s no genre or otherwordly elements in it, it’s set in the modern day on shipping routes, with people who build routes to trade — you know, vanilla from Madagascar and then pick up crude oil and drop it off in India. They build up this intellectual property of a route that is profitable and they sell it off to a bigger corporation…They’re building up the proof that this route will work, and selling it off, dealing with tidal systems and routes and currents and weather.
And will the reception of “Upstream Color” directly affect “The Modern Ocean” in terms of timing and budget? I mean, if you make, like a billion dollars off it?
Heh, yeah, well if we make a billion, that’ll definitely factor into it. If we’re successful on some level that will play into it — it won’t be a huge budget but it needs to be healthy.
And I want to shoot in summer. I mean, that’s my plan. I sort of have now a track record of being really naïve and pointing at something and saying “That’s gonna happen!” and trying to force it, but we’ll see how that works.