“10 Years Later, ‘Upstream Color’ Is An Uncomfortable Look at Manipulation and Justice”

If the recent expulsion of Jonathan Majors from agencies representing him and from his perch in pop culture teaches us anything, it’s that you never know who the bad guys are. That means you never know who the good guys are, either, except for Keanu Reeves – the perpetual good guy. 

I kept this thought rolling around in my head while revisiting Shane Carruth’s Upstream Color for its 10th anniversary, and while writing my piece about it, too. The news of his maltreatment of Amy Seimetz (putting it lightly) came as a shock for me. I can’t speak to anyone else’s reaction. I can simply say that it threw me for a loop. Be that as it may, all of what we know of his crimes helped give me new perspective on Upstream Color, even if it’s perspective I’d rather not have to have. 

You can read my full piece over at Inverse

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