The director Charlie McDowell's then girlfriend, Rooney Mara, was the costume designer. She goes by a pseudonym on the movie because they didn't want to credit Rooney Mara, costume designer. She's Bree Daniel on the credits. See more »
When Sophie and Ethan are in the attic the naughts and crosses grid changes several times with the final naught in the top left corner eventually changing to a cross. See more »
So, we met at a party, and... it was magic. Within a half-hour we were driving up into this really nice neighborhood, and we were running down the stairs of some strangers back yard, and then we were swimming, and we were in love. What we didn't count on was that even though the lights were off, the owner of the home was there. And he came out screaming at us, and it was the greatest night of my life.
[they run and jump into the pool]
[continuing his story]
So me idea...
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From Malcolm McDowell's son...rom com grows a brain
It's hard to relay the joy I felt watching The One I Love, Charlie McDowell's first full-length feature. It's the kind of film you'll remember for a long time because it breaks so many boundaries. It's the kind of film Spike Jonze might come up with, minus some of the academic pretensions he sometimes clings to.
The trailer for The One I Love is almost perfect. It doesn't spoil the premise of the film, and neither will I.
Mark Duplass (who also produced along with his bro, of course) and Elizabeth Moss are excellently cast as Ethan and Sophie, two not-so-newlyweds who are encountering all too typical problems "relating."
At the suggestion of their therapist (Ted Danson, in a just-right cameo) they spend a weekend at a rather large rental house, unsuspecting of the lengths their counselor is willing to go to in order to motivate them to "connect."
The One I Love is a high-wire act by anyone's standards. The script is especially brilliant, but it doesn't spit its brilliance in your face constantly and then ask for your approval with laughter or the occasional tear. Instead, it dabbles in elements of Sci-Fi and Fantasy but doesn't let the main characters (or the audience) off easily by subjugating the human story to questions of logistics. In other words, this isn't a movie for the compulsively left-brained and anal. The performances and plot are engaging enough to make you accept this often absurd but always engaging film for what it is.
It takes guts to break the rules, even more talent to make it work. With The One I Love, Charlie McDowell seems destined to reprove the adage that talent runs in the family.
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