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January 30, 2025Can two people with a romantic history stay friends once they’re no longer together? That depends on a number of factors, and gets considerably more complicated if only one of the, is in a relationship. Love, Brooklyn is an endearing, entertaining portrait of one man caught between two women whose company he enjoys whose general lack of motivation and purpose in life prevents him from making a definitive choice.
Roger (André Holland) lives in Brooklyn and is doing everything he can to procrastinate writing an article about his city that’s past due. He’s seeing Nicole (DeWanda Wise), and though he hasn’t yet spent the night at her place, he’s made enough of an impression that her daughter Ally (Cadence Reese) has requested a solo date with him. He’s also still close with Casey (Nicole Beharie), who owns an art gallery and has a long history with Roger. While both women are aware of the other’s existence, the possibility of them meeting at a party leads to even more uncertainty for Roger, who isn’t quite giving his full self to either dynamic.
This is the feature directorial debut of Rachael Abigail Holder with a screenplay by Paul Zimmerman. As expressed positively by Holland and supporting actress Cassandra Freeman, who plays Casey’s unbearable prime client, at the film’s Sundance premiere, this is a movie about Black people that doesn’t involve any violence or misery and which could also easily apply to any other population group. Any drama or sadness comes from Roger’s own bad decisions, and there’s a refreshing honesty to the way in which these characters ask each other questions, even if their answers aren’t always quite as straightforward or revealing. There aren’t surprising “twists” since everyone is far too open about their missteps and the tension arises from them having to do figure out what to do next with information that’s already out there.
Holland returns to Sundance after last year’s much more sober Exhibiting Forgiveness, and though this character isn’t necessarily that much happier, it’s a far lighter story. He’s someone sort of floating through life, biking the streets of Brooklyn with two earbuds in and in the middle of the road rather than in the bike lane, taking in the world around him but not totally engaging with it. It’s fun to see the different chemistry he has with DeWise and Beharie, who, after recent turns on television in Three Women and The Morning Show, respectively, both offer layered portrayals of these women who are more than successful in life yet still subject to insecurities about this noncommittal man. Roy Wood Jr. adds welcome humor as Roger’s best friend Alan, whose desperation to hear any details about Roger’s relationships because he dreams of having an affair (he never really would, his wife insists) is a high point of the film’s winning casual conversations.
It’s rare and rewarding to see a film that treats relationships with such maturity, as Casey eagerly asks about Nicole and Roger freely discloses most of his meetups with Casey to Nicole. That maturity doesn’t come with its own insecurities, and that feels very fresh and realistic. This is a film whose title speaks much more to the role the city serves as a backdrop for its events rather than offering recognizable locations and extended commentary on its present state. The dialogue-free shots of Roger biking from place to place speak volumes, underscoring the more contemplative moments of Holder’s assured debut, which offers plenty to both enjoy and ponder with a rich cast and sharp script.
Movie Rating: 8/10