Every year, you’re lucky if you’re able to find a film you can relate to deeply. But recently, I was blessed enough to have seen the new Searchlight Pictures release Rye Lane, a film that feels so evocative of my personal mental state today. So far, it’s the best film of the year, and by a decent margin too. It follows Yas (Vivian Oparah) and Dom (David Jonsson) as they navigate their failed relationships and help each other move on. 

Rye Lane solidifies itself as one of the best romantic comedies of the decade by hitting all the right notes with grace. This is all thanks to the fresh directing style of first-time director, Raine Allen-Miller, the wide angle lenses of the cinematography, the engaging screenplay by Nathan Bryon and Tom Melia, the eye-popping costume design, and of course, the knockout performances by our leads. I’ll go in depth into the other aspects of the film in a moment, but I would be remiss to not mention how electric and magnetic the chemistry between David Jonsson and Vivian Oparah is. This film would not work nearly as well as it does without them, and their performances are nothing short of showstopping.

Meanwhile, the script finds the perfect balance between being cute and mature while avoiding clichés as Yas pushes Dom out of his comfort zone. On one hand, it is genuinely hysterical, and the comedy is able to flourish despite coming from so many different avenues. For instance, the script has excellent potty humor, dick pic jokes, and references to Hamilton. We also run into an ensemble of hilarious, attention-grabbing characters. I particularly found Benjamin Sarpong-Broni’s Eric to be a scene stealer as he had some of the best laughs of the movie (including a scene involving a bottle that will be in my mind for a long time). But at the same time, the film can be quite powerful. Throughout the film, I felt as though I went on a re-evaluation of self with Dom. However, the emotional impactfulness of this film is most evident during the recurring flashback scenes. In these moments, Oparah’s Yas shines, paired with brilliant dialogue and ambitiously creative production design choices that make the flashback look like it takes place on a theater stage. 

The stylistic choices made during this film even extend to the film’s depiction of South London. Rye Lane takes us on a tour of the bright, vivid South London and presents the city in a way that feels natural and alive. The particular way Allen-Miller is able to capture the city extends to the entire film. Her direction is distinctly stylistic as it uses bright colors and wide angles that match the playfulness of the love story.

I think my favorite thing about the film, though, is how it is able to take a familiar genre and turn it on its head, injecting it with new energy and wit. It avoids the typical cliches of a romantic comedy and instead lets the chemistry of its leads take control. The result is a beautiful blend of the old and the new that works perfectly.

Overall, Rye Lane is short and sweet, never overstaying its welcome. The dialogue is breezy, and the escapades through karaoke bars, taco joints, and family barbecues are a delight to behold. But above all, there is an undercurrent of intoxicating possibilities that make us yearn for young love and contemporary stories. Rye Lane is a refreshing and relatable romantic comedy that you rarely see get executed this well. It’s a must-see for anyone looking for a film that will leave them feeling good and believing in love and is still worthwhile for those who don’t believe in it but want to be proven wrong. 

9/10