Amy Seimetz and Shane Carruth hide from -- something -- in 'Upstream Color.' It's a movie that's been called both "utterly perplexing" and "transcendent." "Head-scratching" and "beautiful." ...

As mystifying as his 2004 sci-fier, Primer, albeit for entirely different reasons, Shane Carruth’s Upstream Color is a stimulating and hypnotic piece of experimental filmmaking. It’s also a ...

“Upstream Color” is as enigmatic as filmmaking gets — not in a casual way, but determinedly, even willfully. Being completely understood at first glance is not on creator Shane Carruth’s ...

Nine years later, he’s back with his much-anticipated follow-up, “Upstream Color,” which is just as daring and original at the opposite end of the aesthetic spectrum. If “Primer” was ...

“Upstream Color” is a pretentious movie oppressively engineered to baffle—if anyone thinks they can explain what I’m missing, go right ahead—even though Carruth hardly seems to know what ...

It’s true, “Upstream Color” teems with baffling visuals: paper-chains made of quotes from “Walden,” a man recording sounds in the forest, the lives and loves of a herd of pigs.

Like that earlier movie, which inspired both cultish devotion and a chorus of confused what-the-hecks, "Upstream Color" will bring unmitigated delight to some while infuriating others.For a ...

Upstream Color isn’t a horror film, but its use of imagery and sound to create an almost nightmarish sense of tension is something Hooper would probably admire. Writer, director, producer and ...

A brain-controlling parasite gives a man the locust-like ability to suck the will — and cash — from his unwitting victim.

In the early going of “Upstream Color,” one might almost conclude that a trackable story is emerging: We witness a young woman (Amy Seimetz) kidnapped, drugged and apparently robbed.

Shane Carruth made his name in the independent film world in 2004 with his debut, "Primer," a sci-fi, time-travel thriller that he wrote, directed, produced, edited, scored and starred in for a ...

Taking cues from Terrence Malick’s playbook, “Upstream Color” depends on the non-verbal cues of its actors and repetition of parallel imagery to drive the narrative. But unlike “The Tree of Life,” ...