Love, Brooklyn felt to me like a modern Woody Allen movie in the way that it frames the city of Brooklyn as a character, in the middle of a love triangle. The way that the city interacts with the characters and the influence it has are more interesting than the characters themselves. Not to say that the romance and drama at its core doesn’t work, because it does. The script creates good enough characters and a dynamic between them that is easy and engaging to watch. It’s just that it is more interesting as an analysis on how COVID, especially in a big city, has affected the way that people behave.
The film follows Roger, a writer suffering from writer’s block as a deadline looms. Instead of sitting down and doing his job, he is way more interested in engaging between two women that fill his needs, his ex-girlfriend Casey, with whom he has a more emotional connection, and Nicole, a recently widowed mother struggling to move forward after her husband’s death, who fills his physical needs.
There’s no better place to explore the lingering impact of the pandemic on relationships than Brooklyn, a city constantly in motion, shaped by the ebb and flow of tourists and transplants. After being stuck indoors for too long, many people lost their sense of connection. Self-interest took priority, comfort zones became harder to break out of, and for many, staying single became easier than the effort required for a real relationship. To commit to something deep now means sacrificing time, something that feels increasingly scarce, especially in a city like Brooklyn with a lot of stuff to do.
Roger embodies this shift. He clings to his routine, avoiding not just work but any real disruption to his life. Relationships, for him, are solely about fulfilling his needs as much as food is. But of course, something is missing (how could it not be?). One of the film’s most interesting parallels is between Roger and his married friend Alan. Alan envies Roger’s freedom, but as the film progresses, it becomes clear that Roger is the one truly missing something.
The real conflict of the movie isn’t between the women, it’s between Roger and his own selfish bubble. He drifts comfortably, taking what he wants from both relationships without fully committing. He’s a nice enough person and is good with kids, even bonding with Nicole’s daughter, but there’s always a limit to how much he gives of himself.
The movie doesn’t go particularly deep in its messaging and keeps things light, making for an easy, streamable watch. Technically, there’s nothing especially impressive about it, visually, it’s no more striking than a modest TV series. There are a few small directorial stumbles, like a bizarre moment where a child climbs a tree, Roger warns her it’s dangerous, and then two minutes later, he completely forgets about her.
As for the performances, André Holland is reliably engaging, but it’s the women who bring real authenticity, making their characters feel fully realized rather than mere extensions of Roger’s story. They have their own arcs and emotional weight, adding depth to an otherwise straightforward narrative.
This review is part of our Sundance 2025 coverage. Read more festival reviews here.