Transatlantic Coffee

Erik Peter Carlson's "Transatlantic Coffee" is anything but your typical boy-meets-girl story. Alex (Kevin Pinassi), the guy in this tragicomic love story set in post-9/11 New York, is a middle-aged Brooklynite who's seemingly got some major problems. Life improves big time when he hooks up with Mandie (the delectable Rachel Marie Lewis), a teen-aged stripper from London. The results are thought-provoking and anything but predictable. This highly polished effort reveals a filmmaker and a young actress of some promise, and it's no surprise to me the film is being well-received on the festival circuit. Unlike so many films out there, it's fresh and original, and doesn't play like a rehash of something you've seen before.

There are only a handful of indie films that have a distinct lasting affect on the audience--these are movies you either get, or you don't. And if you don't get it, you won't hate it, but simply find it too odd for your liking. Open minded viewers need only apply, and that's certainly the case with "Transatlantic Coffee." I remember leaving the theater absolutely shocked, and not just because of the events on screen. I was shocked that I found the movie so intelligent and oddly entertaining. The actors surely must have felt that, after reading the screenplay.

The subject matter is truly unsettling at times. Transatlantic Coffee, even with it's extreme modest budget, is a masterpiece of irony (even in the title), and finds humor in the most unusual and downright bizarre circumstances. You will not see another movie like it. Guaranteed. And fair warning--you could very well be confused by it's approach and reasoning.

It's very difficult to summarize what "Transatlantic Coffee" is all about. It's a very complex film that engages heavily on an intricate character. Let me just say this from the start - it is not for people wanting to see a sweet love story. End of story.

I saw the film at a festival in New York after reading information on the film through the festival's web site. It seemed like a very odd story, which is something I'm always attracted to. I didn't have a date, so I went alone ...which probably ended up being a good thing.

As I prepared for the movie to start, I realized I knew nothing about this film. This is rare for me, as I am a film review buff. I really didn't know if I was going to laugh, cry or be seriously depressed. The theater was pretty full, as I believe it was the first evening the film was screening at the fest. I wondered if any of these strangers around me knew anything I didn't about what we were all about to see. The lights went out ...then, all of the emotions mentioned above occurred, and then some.

The film is slow paced, which I believe was done on purpose as it is driven primarily by Kevin Pinassi's performance as Alex. Let me tell you something, he is brilliant. I can't imagine anyone else playing that part after watching his performance. I was hoping he'd be available for a question and answer after the screening, but he wasn't. He knocked my socks off, and I have yet too find them.

The mood of the film can only be described as creepy, dark and at times, very disturbing. This is accomplished by the amazing performances, the truly unique and unpredictable direction and writing of Erik Peter Carlson, and the dream-like cinematography through the film. Carlson has a way of making you feel the film will go in one direction, but like a sly magician, takes you somewhere you never knew existed.

90 minutes into Transatlantic, there were times where I was shocked, confused and sometimes appalled by what was shown on screen, but at the same time, I was completely involved. I had no idea whatsoever what was going to happen next. By the 90 minute mark, I said to myself "I like this film". Then came the final act, which was not only a huge surprise to me, but obviously to the rest of the audience as well. There were plenty of gasps and seat shifting. At this point, I said to myself "I really like this film." I can't remember another time where there was so much discomfort in a room full of people.

The lights came up as the credits rolled ...and nobody moved. I don't think a single person left until the final credit faded off the screen. At this time, the woman next to me who was with a date, muffled, "Well, that was brilliant."

There's a lot to watch and understand in Transatlantic Coffee for a picture with very few characters and settings. It's very vague (which will be annoying to some) and makes you work very hard in interpreting what you just watched. This surely will not be for everybody. Don't leave upset thinking you missed something that the others in the theater caught on to - you didn't. For the ones who liked it the first time around, I guarantee you'll want to see it again so you can pick up on the small pebbles Carlson tossed around, purposely making it the task of the audience to make their way home.

Some will like this challenge, others simply will not. I did.

Watched this film on Prescreem.com the other night after hearing about it from a Twitter friend. I usually don't do reviewes on movies but I thought this film deserves to be heard.

In an American market of highly commercial, audience appealing pictures with typical subject matters, special effects and bland characters (just look at today's movie listings) this film takes all of that and flushes it. It's obvious that the filmmakers had a vision and went with it, not worrying about what the American public is familiar with. This film is something to be experienced and I mean that.

As the film starts, you'll notice the unique way the story will be told, with it's long takes, allowing the actors on screen to become real. The writing is deep and has so many moments of "Wow, that is so true". The actors in the film, Kevin Pinassi and Rachel Marie Lewis, whom I have never seen before on screen. do a tremendous job. They are fearless in their approach.

As other reviews mentioned on this page, the music and visuals are something you usually don't see in a low budget movie. Everything down to the costumes and the setting of the main character's apartment are so real, you feel you've been living there yourself by the end of the movie.

The direction and writing of the movie is very well done. The ending, although a great surprise to me, may have others catching on somewhat early in the film, but the way the story is told, the way it's designed as a whole, simply convinces you that these are real people, in a real world, experiencing real subject matters. I give this credit to the director, Erik Peter Carlson and the producers who have accomplished something that proves that independent film is something you need to be involved in, for no other reason than to realize that there is much more than special effects in cinema.

The movie is very intense with scenes that make you shiver, for many reasons. However, I never feel it's done in bad taste, but to bring you into the moment and into the lives of these characters, mostly the main character.

To conclude; it's an extremely well done movie that has all of the elements any great movie should contain; a great story, compelling characters, it stimulates many emotions, has the compelling "wow" factor and forces you to watch it again. Great job.

From the first few seconds into the opening sequence of Transatlantic Coffee, I was hooked. The beautiful shots, the soulful melody of Alix Paige and expert use of lighting all blend together perfectly in setting the tone for this wonderful New York original.

We notice straight away that the man sat in a carefree New York City blues bar is troubled. His edgy disposition accompanied by jarring images of distant or recent memories flash on and off screen against the tempo of the music, portrays a man burdened with repressed thoughts that are invading his mind. As the opening sequence ends with a very high pitched drawn out noise, a speeding train races past a block of apartments, sharply bringing us back to Alex's morose reality.

The film begins quite slowly, establishing Alex (Kevin Pinassi) as a depressive, drunken man whose choice of employment, (providing entertainment as a clown), contrasts with his disdain for life and sullen nature. His longing desire to find someone that will allow him to escape from the constant loneliness he has submitted himself to, is where his story begins.

Over the course of this film, we're given the opportunity to tread in the footsteps of this lonely man's quest to feel love again. Set just a month after 9/11, Alex's story serves as a metaphor for the trauma New York citizens dealt with after the attack. The city itself; grey and in stasis, Alex also seems somewhat out of touch from reality. His hostility towards life, towards his family and his only friend are a result of his disconnection from society.

Early into the film we discover Alex has met a teenage girl from London online and has asked her to stay with him in The Big Apple. Mandie (Rachel Marie Lewis) is a high spirited stripper with a lust for living life to the fullest; a juxtaposing element to Alex's depressive lifestyle. Nevertheless, the couple spend several weeks together, bonding over different aspects of each other's personalities, and things begin to look up for Alex. The film however, constantly reminds us of how conflicting the individuals are.

A very poignant scene shows Alex and Mandie sat awkwardly making small talk to break the ice after weeks and weeks of relying on the social barrier of internet messaging. Alex, not wanting to give much of himself away, is hesitant to talk; Mandie on the other hand, makes herself comfortable as soon as she enters his apartment. As the airy tension between them rises, the music in the background becomes more dominant and Alex begins to describe how he associates music to memories, he feels that "music is the one way you can capture a moment" – this, to me, is just the epitome of his character and of the film. Music is very apparent in Transatlantic Coffee; it consistently sets the tone, the atmosphere and the mood of each character and each scene highlighting how Alex sees each moment of his life.

Alongside the usage of musical and visual cues, Transatlantic Coffee also utilises the concept of individual perception to explore another predominant theme; that of Alex and Mandie's attraction to one another despite their rather overwhelming differences. Alex, during a memorable moment whilst they stand looking over Manhattan at night, tells Mandie he is colour blind. Mandie responds with "I'm so sorry...it must be horrible living in a city like New York and not being able to enjoy the colour and vibrancy of it all" to which Alex states, "Not really, it's all I've ever known" – from this brief conversation we get to understand the characters a little better. With Alex's depressive nature and Mandie's colourful outlook on the world, they are 'different in their own way'.

As the film progresses differences melt between the two. Mandie paints a picture for a close friend back home in England, when Alex sees this painting he realises he can see colour. He associates this new profound ability with the love he holds for Mandie and is therefore awakened from his black and white world; this reinforces Alex's need for her to be a part of his life.

The sexual tension between the two characters is admitted very early on, however Alex is hesitant to act upon his desires. The film pushes you to feel how real every situation is throughout the story and how the relationship shared between the two, is full of genuine emotion. Every glance, touch and embrace feels so honest and meaningful that all your senses tell you it's real.

This is a beautiful independent picture directed and written by Erik Peter Carlson. It focuses on visual energy and atmosphere created by spectacular cinematography, scenic locations, choreography and costume designs. The script highlights how beautiful life can be yet with the help of a well structured narrative; the storyline illustrates the ugliness that sometimes can creep through. The subtle flashbacks from Alex's memories and out of place lines were suggestive to the films conclusion, nevertheless they were almost unnoticeable. An almost flawless motion picture, Transatlantic is an independent wonder, enriched with fantastic colour, unforeseen twists and occasional eroticism.