Rye Lane review: A charming, remarkable gem
Review Overview
Cast
10Storytelling
10Heart
10Ivan Radford | On 07, May 2023
Director: Raine Allen-Miller
Cast: Vivian Oparah, David Jonsson, Alice Hewkin, Munya Chawawa, Simon Manyonda, Karene Peter, Benjamin Sarpong-Broni
Certificate: 15
87 minutes. That’s how long Rye Lane takes to unspool. That rare brevity is enough to make it stand out from the crowd – but fortunately it stands out in almost every other regard as well.
The film follows the crossing paths of two twentysomethings in London: Dom (David Jonsson) and Yas (Vivian Oparah). They first meet each other in the toilets, but not in the way you might expect: she overhears him crying his heart out and recognises his pink Converse at the art show of a mutual friend. A chat in front of some in-your-face photos turns into a walk, which turns into a drink, which turns into dinner, which turns into a heist, which turns into… well, that would be spoiling.
The longer the pair hang out, the more gently absurd their brief encounter becomes, giving this Before Sunrise-esque jaunt a playful energy all its own. That’s perhaps the best thing about Rye Lane: how fresh and distinctive its filmmaking feels, as feature debut helmer Raine Allen-Miller takes the time to enjoy the tiniest of details that would go unnoticed in another movie. The location work – filmed in Brixton and Peckham – is not only geographically accurate but delightfully warm to boot, from the Peckhamplex to a brief jaunt to the Southbank that captures the Thames from a previously unseen angle.
The South East streets are suitably packed with memorable, laugh-out-loud characters, with every supporting player delivering their lines in ways that give us just a bit more insight into their character than you might expect. That’s especially the case as we learn about Yas and Dom’s exes, including the snooty Gia (Karene Peter) and her brilliantly clueless new fella (Benjamin Sarpong-Broni) to Malcolm Atobrah as a temperamental artist.
But nothing can possibly steal the show from our lead couple, with both Oparah and Jonsson delivering star-making turns. Jonsson is fragile and nervous but builds in confidence the more he comes out of his shell, while Oparah is boisterous and confident but hides a messier past than she’d like to admit. Their criss-crossing arcs intersect beautifully with a natural chemistry and heartfelt vulnerability.
The script, by Nathan Bryon and Tom Melia, is full of gorgeously honest observations and a genuine romantic streak that ensures we’re rooting for the couple without any cynicism or self-aware humour. Raine Allen-Miller translates that to the screen with an effervescent sincerity, from a judiciously used fish eye lens that brings us into their bubble to some superb jump-cuts and in-camera flashbacks that keep us, like the characters, on our toes and reinforce the film’s understanding of how the past constantly bleeds into the present.
From the opening tracking shot through toilet cubicles that captures several snapshots of London life with wit and economy, Rye Lane makes you sit up and pay attention to the story being told. By the time it’s finished barely an hour and half later, you’ll be wanting more from everyone involved. A remarkable, charming little gem.