The following review appeared during the 2008 Hamptons Film Festival. Luke and Brie Are On a First Date is now available for rental or purchase via Amazon Video on Demand.
Luke and Brie Are On a First Date, which world premiered in the Hamptons last weekend, is the debut feature by Chad Hartigan, a frequent collaborator of Aaron Katz, and there are definitely some superficial similarities between the two filmmakers’ work. Like Katz’s Quiet City, Luke and Brie follows two attractive young people (George Ducker and Meghan Webster) around a city as they break through awkward uncertainty to forge a tentative romantic connection, and with their dreamy, super-intimate videography, both films have a way of enveloping a viewer in the action (or what passes for action), ultimately serving as delivery vehicles for the kind of heightened realism that marks an unexpectedly life-changing night out. But Luke and Brie plays its drama much closer to the surface, and through a little bit of self-reflexivity, a film that’s virtually wall-to-wall conversation manages to avoid feeling too talky.
Hartigan, who is a Los Angeles-based box office analyst by day, said after the Hamptons screening that Luke and Brie, based structurally on his own first date with his current girlfriend, was shot in 5 days on a budget of $3000. The small scale of the project opens it up to an obvious criticism: surely, all of us could come up with a single night in our romantic lives that seems worthy of dramatization, and many of us could round up some friends and scrape together a few dollars and take a week off work to tell it. So what makes Luke and Brie special? Maybe nothing, and maybe that’s it — maybe it’s not interesting because it’s entering into unchartered territory, but because it takes us through universal, well-worn feelings and makes them feel new. With his camera often seeming to float over faces in extreme close-up, Hartigan’s micro-focus on the nerves, uncertainties, and ambiguities, the posturing and reflex self-medication and unexpected moments of honesty that fuel the night so nails the harrowing aspect of navigating modern romance — in which it’s always easier to do nothing than to do what one really wants — that he’s able to turn the film’s ultimate surrender to traditional romantic closure into something of a surprise.
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