If you were partial to one-time Dallas filmmaker/actor/writer/composer Shane Carruth’s previous mind-scrambler, the 2004 cult time travel movie “Primer,” your reaction to his second feature, “Upstream Color” will likely be the same: You’ll come to the end of this even knottier trip and say, “I need to see that again, possibly right now.”
It’s actually hard to know where to start talking about “Upstream Color.” It’s not an abstract movie, but it is highly subjective and impressionistic. There is a definite plot, or rather several, but its disinterest in conventional narrative is near total.
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