Adam Carter Rehmeier is slowly becoming one of the strongest indie filmmakers working today. With films like Dinner in America and Snack Shack, he’s successfully recaptured an old-school style of filmmaking that seamlessly transitions into the modern day. His newest feature, Carolina Caroline, once again aligns with his last two features, serving as a modern reimagining of Bonnie and Clyde while retaining Rehmeier’s signature style.

The film follows Caroline, played by Samara Weaving, who becomes smitten with pickpocket Oliver, played by Kyle Gallner. As their relationship blooms, Caroline delves deeper into the world of crime, which leaves the two on the run from the police after a slew of robberies go wrong. The film may appear to be a stereotypical crime drama, but it is deeply rooted in themes of finding yourself and the American Dream, giving it a heart and emotion that otherwise wouldn’t be there.

Also starring in Dinner in America, it is no surprise that Kyle Gallner was able to match the style and tone of his character to an exceptional degree. The way he portrays Oliver with such seriousness, while still evoking a deep love for Caroline, makes for an endearing and layered character. Despite not knowing much about his past or what led him to the world of crime, Gallner’s performance elevates the character to an extreme height. Beautifully opposing Gallner’s confidence is Samara Weaving’s more reserved, emotional performance. Known for being the bad-ass final girl in horror movies, Carolina Caroline sees Weaving in a more subdued role for most of the film, but then the third act hits, and she becomes a different kind of beast. Weaving is great in the first two-thirds, but the last 30 minutes sees some of the best acting out of any film this year, with Weaving channeling moments of pain in such a visceral way. The chemistry between Gallner and Weaving is fantastic throughout, but Weaving completely takes over the film in the third act.

Despite taking place in the rural south, the film somehow manages to be one of the most colorful movies of the year. From the design of the small towns to the vibrant costumes, the film uses color to convey a heightened state of euphoria that Oliver and Caroline experience in their relationship. In a time when most major blockbusters are littered with an ugly, grey hue, Carolina Caroline‘s sharp visual style makes for a refreshing viewing experience.

Rehmeier’s recent set of films has delved into the idea of the American Dream, whether in films about kids running a concession stand or a rock artist forming a relationship with a fan. Carolina falls in line with these films, with writer William Thomas Dean IV using the world of crime to discuss the rise and fall of the American Dream. Caroline lives in a small town where nothing happens, almost as if she were an immigrant to her own country. When Oliver enters her life, she begins to see the possibilities of living in America, which leads her on a roller coaster of emotional highs and lows. While it may not be the most thought-provoking interpretation of the American Dream, it’s more than sufficient to drive the film’s thematic resonance. The final moment in particular, perfectly captures the darkness of the American Dream and how it can become an infection, giving the film a strangely satisfying ending.

Carolina Caroline is clearly taking inspiration from older crime films like Bonnie and Clyde, but sometimes it does so to a fault, especially regarding the film’s structure. After the film introduces its premise, it is extremely easy to see where it is going, which can make some moments in the middle portion drag. Instead of each scene feeling integral to the story, there were times when the film took too long to get to the next point. The film was also in desperate need to showcase more of what Caroline was like pre-Oliver. Doing so would’ve further emphasized Caroline’s development and given her arc a stronger foundation. While their relationship was the core of the movie, Caroline is truly the main character, and delving further into her state of mind before her turn to crime would’ve given the film a stronger gut punch in its final moments.

Genre cliches aside, Carolina Caroline is another excellent interpretation of the American Dream from Adam Carter Rehmeier. With excellent production value and two phenomenal performances from Kyle Gallner and especially Samara Weaving, this is the kind of film that will work on any audience, despite its darker subject matter. If this film proves anything, it’s that Rehmeier is a director to watch, no matter the genre or premise.

Carolina Caroline screened as a Special Presentation at Indy Film Fest. It will be released in theaters nationwide on June 5.

Rating: 7/10

Oscar Prospects:

None