--- title: "Rye Lane" year: 2023 kind: "film" canonical: "https://film.one/film/rye-lane" fi1m_id: "rye-lane" imdb_id: "tt15893750" tmdb_id: 1049638 wikidata_id: "Q115675219" fi1m_score: 78 critics_score: 81 critics_reviews: 19 published: "2026-09-10" updated: "2026-09-18T08:37:52.085819+00:00" region: "US" licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL." --- # Rye Lane (2023) Directed by Raine Allen-Miller · 1h 22m · MPA R · Comedy, Romance ## Identity Rye Lane - **Canonical:** https://film.one/film/rye-lane - **Type:** Film - **Fi1m ID:** rye-lane - **IMDb ID:** tt15893750 - **TMDB ID:** 1049638 - **Wikidata ID:** Q115675219 - **Same entity:** https://www.imdb.com/title/tt15893750/, https://www.themoviedb.org/movie/1049638, https://www.wikidata.org/wiki/Q115675219 **Fi1m score: 78** · Critics 81 from 19 reviews *In a sentence:* A break-up, a toilet cubicle and eighty-two minutes of Peckham shot through what appears to be a peephole > Raine Allen-Miller’s first feature is a quick, bright south London romance with two leads good enough to make its stock machinery hum. It is slight, and it knows it, and at 82 minutes it stops before that becomes a problem. ## Synopsis Dom (David Jonsson) is crying in a toilet cubicle at a friend’s photography exhibition in south London, some time after his girlfriend Gia (Karene Peter) left him for his best friend Eric (Benjamin Sarpong-Broni). Yas (Vivian Oparah), in the next cubicle, hears him. She is newly single too, or says she is, and she walks out with him into Peckham. Over one afternoon they cross the market, Brixton Village and a good deal of pavement in between, and she talks him into the lunch with Gia and Eric he has been dreading. Dom does accounts; Yas wants to design costumes. Raine Allen-Miller directs her first feature from a script by Nathan Bryon and Tom Melia. ## Review Dom has been dumped, and he is taking it badly in a toilet cubicle at an art show. Yas is in the next one and can hear him. *Rye Lane* is what happens after she decides to say something: one afternoon in Peckham and Brixton with two strangers who have both been left. Raine Allen-Miller, directing her first feature, has made a small, quick, likeable romance, and we recommend it. Its plot is second-hand and its supporting characters are cartoons, but the two people at the centre of it are real, and 82 minutes is as long as they need. Olan Collardy shoots almost all of it on a lens so wide that the edges of the frame curve. Shop fronts bulge, pavements bend, and the two leads, walking towards us, look as if they are about to fall into our laps. It ought to be exhausting and for a long while it is exhilarating instead, and Collardy straightens the image for the scenes where the two of them stop walking and mean what they say. Anna Rhodes fills every room with colour: the exhibition is a hall of enormous photographs of mouths, the market is a wall of fruit and plastic, and nobody’s flat is beige. Cynthia Lawrence-John puts Yas in colours that clash on purpose and Dom in a shirt buttoned to the collar. Kwes’s score is soft and electronic and sits under the talk without pushing it. Victoria Boydell’s editing is the other reason it moves. When Dom tells Yas how he was left, we do not get a man talking at a table; we get the break-up restaged in the room where it happened, with Yas standing at the edge of the scene, watching and commenting. Boydell cuts between the two timelines as if they were one, and the film does its exposition at a run. Vivian Oparah is the engine. Yas talks the way some people drive, fast and slightly too close to things, and Oparah makes every line sound as if she thought of it a second ago. David Jonsson has the quieter part and plays it without asking to be liked: Dom is a man who has organised his grief into a spreadsheet, and Jonsson lets us watch him decide, scene by scene, to put it away. We laughed at a grown man weeping in a cubicle, which we are not proud of, and then, twenty minutes later, found ourselves wanting these two to kiss with an urgency we had not felt at a romantic comedy in years. It was the listening that did it. Both actors hear the other’s lines before they answer them. The script, by Nathan Bryon and Tom Melia, is not as good as the people saying it. The middle turns on a lunch at which Yas pretends to be Dom’s new girlfriend in front of the ex and the best friend, a set-up as old as the genre, and the film plays it broad. Karene Peter’s Gia and Benjamin Sarpong-Broni’s Eric are drawn as fools so that Yas can be seen to flatten them. It is funny, and it is easy. A second errand, involving Yas’s ex Jules (Malcolm Atobrah) and a record she wants back, exists mainly to give the pair somewhere to walk to. And the last twenty minutes, which we will not describe, tidy things up faster than the first hour had led us to expect. The debts are worn openly. This is the [*Before Sunrise*](https://film.one/film/before-sunrise) model, two strangers and a city, and the Richard Curtis model too, London as a place where nice things happen to nice people; there is a burrito shop whose name is a joke at Curtis’s expense, and its proprietor is a cameo we will leave you to find. Allen-Miller moves the genre a few miles south and some decades on, to a Peckham that is Black, young and loud. Most critics have been a shade warmer than we are, and we understand why. The film is such pleasant company that its thinness is easy to forgive. We forgave most of it. See it with someone you are still working out. It is short enough that if the evening is going badly you will have time for something else, and if it is going well you will not want anything else. *Fi1m score 78, published 10 September 2026.* ## What the critics say The reviews for Rye Lane are warm and unusually close together. Nearly every critic praises the same three things: the chemistry between the two leads, Raine Allen-Miller’s bright, restless direction in her first feature, and the film’s affection for Peckham and Brixton, which most treat as a character in its own right. The comparisons recur too; Before Sunrise and Richard Curtis are cited again and again, usually as a formula the film updates for a younger, Black British south London rather than one it overturns. Reservations are mild and cluster around the plot, which several find slight, and a final act that some think hurries. One review wishes the film were longer. The lone dissent comes from Slant Magazine, which grants the leads their charm but finds the screenplay flat and the picture of London closer to caricature than portrait, and says the romance never quite lands. Nobody else in the set is anywhere near that position. ## Straight answers **Is Rye Lane worth watching?** *Rye Lane* is worth watching for anyone who wants a quick, bright romance that knows how slight it is, and we scored it 78. The plot is second-hand and the supporting characters are cartoons, but Vivian Oparah and David Jonsson are real, and at 82 minutes it stops before its thinness becomes a problem. **How long is Rye Lane, and what is it rated?** *Rye Lane* runs 1h 22m and is rated R by the MPA in the US. It is a comedy and romance film. **Where can I watch Rye Lane in the US?** *Rye Lane* is streaming on Hulu and Disney+ in the US. Availability is checked daily; the links above go straight to each service. **How violent or frightening is Rye Lane, and is it suitable for children?** *Rye Lane* is a romantic comedy with no violence and nothing frightening in it; its UK 15 and US R certificates reflect adult language and adult subject matter rather than anything alarming. It is not made for children, who would find little in a break-up talked through over one afternoon in Peckham, but the squeamish have nothing to fear. **How does Rye Lane compare to Before Sunrise?** *Rye Lane* borrows the shape of [*Before Sunrise*](https://film.one/film/before-sunrise), two strangers and a city with nobody in a hurry to leave, and moves it to a Black, young, loud south London. Linklater's film is the deeper and more absorbing of the two, though its talk can sound pleased with itself; Allen-Miller's is quicker, funnier and more willing to lean on stock machinery. Choose the earlier film for conversation, the later one for pace. **What should I watch after Rye Lane?** After *Rye Lane*, try [*Before Sunrise*](https://film.one/film/before-sunrise) (1995, Fi1m 89): The template: two strangers, one city, a night, and nobody in a hurry to leave. Then [*Weekend*](https://film.one/film/weekend) (2011, Fi1m 86): Andrew Haigh’s Nottingham two-hander, quieter and sadder, with the same faith in talk; and [*Roman Holiday*](https://film.one/film/roman-holiday) (1953, Fi1m 88): The original day-out romance, with a Vespa where Rye Lane has a bus. ### Reviews we read (25) - **Empire**, John Nugent (85/100, inferred): The critic finds the film utterly delightful and a fresh, energetic take on the rom-com genre. They single out the lively, stylish direction and the charismatic leads for praise while noting minor quibbles with the slight plot and final act. [Read](https://www.empireonline.com/movies/reviews/rye-lane/) - **Evening Standard**, Charlotte O'Sullivan (85/100, inferred): The critic hails it as the rom-com of the year and a vibrant love letter to Peckham that signals change for the genre. They praise the colourful, kinetic style and the human, flawed leads while highlighting the clever nod to Richard Curtis films. [Read](https://www.standard.co.uk/culture/film/rye-lane-movie-review-peckham-plays-host-to-the-romcom-of-the-year-b1067656.html) - **The Guardian**, Peter Bradshaw (85/100, inferred): The critic praises this vibrant debut feature as a hugely enjoyable romcom that blends warmth and charm with street-smart grit, creating something playful, poignant and personal. The leads are thrillingly engaging and the result leaves viewers with a smile and renewed confidence in British filmmaking. [Read](https://www.theguardian.com/film/2023/mar/19/rye-lane-review-raine-allen-miller-vibrant-south-london-romcom-hits-the-sweet-spot) - **Vulture** (85/100, inferred): The review commends the film for making romantic comedy look effortless with witty banter, chemistry between leads, and vibrant South London setting. Singles out the effortless feel and the city's energy for praise. [Read](https://www.vulture.com/article/rye-lane-makes-romantic-comedy-look-easy.html) - **Radio Times**, Emma Simmonds (4/5): This sparky British comedy puts a fresh spin on the Before Sunrise model as two strangers spend a day together on the streets of south London. It embraces the vibrancy of its setting with bold colours, larger-than-life characters, visual ingenuity and a very funny script. [Read](https://www.radiotimes.com/movie-guide/b-0hyx9v/rye-lane/) - **The Hollywood Reporter**, Jordan Mintzer (80/100, inferred): The critic praises the film's charming meet-cute, charismatic leads, and fresh take on the rom-com genre set in South London, though it ultimately stays within genre conventions. Singles out the leads' banter and the vibrant Peckham setting for praise. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/rye-lane-review-1235308156/) - **The i Paper**, Xuanlin Tham (80/100, inferred): The review calls the film a fizzy, charming Gen-Z update to London rom-coms and an irresistible entry into the canon. It praises the effervescent portrait of south London life and the central couple's chemistry. [Read](https://inews.co.uk/culture/rye-lane-review-this-fizzy-south-london-romcom-is-a-gen-z-notting-hill-2208492) - **The Telegraph** (80/100, inferred): The review hails the film as heralding a new generation of enchanting British romcoms, updating the Richard Curtis formula to contemporary south London with undisguised love for the place and its bustle. It captures the in-the-moment bliss of romance through gorgeous manoeuvres and a benedictory cameo. [Read](https://www.telegraph.co.uk/films/0/rye-lane-review-heralds-new-generation-enchanting-british-romcoms/) - **Variety**, Guy Lodge (80/100, inferred): Raine Allen-Miller’s immensely likable debut doesn't reinvent the wheel but instant chemistry between the stars keeps it spinning. It is an unabashed urban love letter to South London neighborhoods, claiming the rom-com for young Black Britain with breezy, infectiously young leads. [Read](https://variety.com/2023/film/reviews/rye-lane-review-1235556303/) - **The AV Club**, Leigh Monson (B): The critic finds it a charming but slight British rom-com with winning leads, rich sense of place, and playful style. Singles out the natural chemistry of the leads and the neighborhood's depiction for praise, noting it's a promising debut despite being slight. [Read](https://www.avclub.com/rye-lane-movie-review-hulu-1850234473) - **IndieWire**, Esther Zuckerman (75/100, inferred): The review highlights how the film mashes up 'Before Sunrise' and Richard Curtis with fresh leads and a wonderful sense of place, delivering charm and fun. Praises the directorial debut for bolstering genre tropes effectively. [Read](https://www.indiewire.com/criticism/movies/rye-lane-review-1234801642/) - **Slant Magazine**, David Robb (40/100, inferred): The critic notes the charming leads but criticizes the flat screenplay, caricatured portrait of London, and failure to make the romance resonate fully. Singles out the visual flourishes and energy but complains about lack of depth. [Read](https://www.slantmagazine.com/film/rye-lane-review/) - **Financial Times**, Leslie Felperin (★★★☆☆): The film is fizzy, smooth and sweet, poised to do for south London what Richard Curtis films did for other neighbourhoods, hitting all romcom marks while grounding the story in Gen Z problems. The combustible chemistry between the leads makes an engaging, believable love story. [Read](https://www.ft.com/content/430eae3f-cf59-4b74-af57-647899cd1e38) - **Screen Daily**: South London-set romantic comedy is a winner. Allen-Miller achieves the Holy Grail of great rom-coms in making us desperate to see the pair get together while not wanting the first flush of romance to end. It offers a warmly realised showcase for the charming leads. [Read](https://www.screendaily.com/reviews/rye-lane-sundance-review/5178427.article) - **Sight and Sound**: The engaging debut captures the fizz and vibrancy of Peckham and Brixton with a dash of Richard Curtis and Linklater. A confident, engaging debut that does not outstay its welcome despite occasional questions over character motivations. [Read](https://www.bfi.org.uk/sight-and-sound/reviews/rye-lane-vivacious-south-london-romcom-with-eye-detail) - **The New York Times**, Claire Shaffer (Critic’s Pick): The director’s debut feature revives the rom-com genre with exuberant performances and a vibrant South London setting. It is self-assured, full of specificity in its details while the leads’ dreams and insecurities remain universal genre staples. [Read](https://www.nytimes.com/2023/03/30/movies/rye-lane-review.html) - **The Times**, Kevin Maher (★★★★☆): This is immediately one of the great London movies, a sweet and swoon-worthy metropolitan rom-com with deft construction, frothy energy and deep affection for its characters. The only minor complaint is that at 82 minutes it is almost too short. [Read](https://www.thetimes.com/culture/film/article/rye-lane-review-a-sweet-and-swoon-worthy-metropolitan-rom-com-9v8kr6cqz) - **HeyUGuys**, Emily Breen (5/5): The critic fell deeply in love with the central couple and their fizzy chemistry, calling the film an essential window into a vibrant, endangered corner of South London. They praise the leads' charm, the director's sense of place, and how it evokes the magic of a classic walk-and-talk romance. [Read](https://www.heyuguys.com/rye-lane-review/) - **Collider**, Chase Hutchinson (A-): The critic finds the film a sharply funny and inventive romantic comedy that crackles with energy throughout its sweet story. Vivian Oparah's comedic performance as Yas is singled out as the standout driving force. [Read](https://collider.com/rye-lane-review/) - **The Playlist**, Robert Daniels (A-): The critic hails the debut as a wonder that immerses viewers in the verve of South London’s Peckham neighborhood through visual flair and bright spirit. They single out the breakout performances and the assured direction that makes familiar rom-com tropes feel fresh and infinitely rewatchable. [Read](https://theplaylist.net/rye-lane-review-raine-allen-millers-rom-com-is-already-infinitely-rewatchable-sundance-20230124/) - **Deadline**, Anna Smith (85/100, inferred): The critic calls Rye Lane a delight that breathes fresh life into the rom-com genre with youthful British energy and pays affectionate tribute to its forebears. She singles out the sunny, irreverent take on life and love, the strong supporting cast, and the imaginative visual flair in the storytelling. [Read](https://deadline.com/2023/01/rye-lane-review-sundance-david-jonsson-vivian-oparah-1235237987/) - **Digital Spy**, Isabella Silvers (85/100, inferred): Celebrates it as a joyous, authentic Black British rom-com full of energy, relatable characters, and vibrant South London settings. [Read](https://www.digitalspy.com/movies/a43347901/rye-lane-review/) - **/Film**, Ben Pearson (8.5/10): The critic finds the film a delightful, charming take on the walk-and-talk romance, full of lovable characters and a genuine love for its South London setting. They single out the leads' natural chemistry and the way the movie captures spontaneous, vibrant street life. [Read](https://www.slashfilm.com/1176977/rye-lane-review-this-winsome-comedy-is-like-a-sillier-funnier-version-of-before-sunrise-sundance/) - **NME**, Kyann-Sian Williams (80/100, inferred): The critic praises the likeable chemistry between leads and the quirky, visually inventive update to the romcom formula set in South London. [Read](https://www.nme.com/reviews/film-reviews/rye-lane-review-3414764) - **Paste**, Anna McKibbin (8.5): The critic calls it a perfectly poised romantic comedy that recrafts the genre with clarity of vision and specificity. The care for the central relationship and the vibrant South London setting are singled out for praise. [Read](https://www.pastemagazine.com/movies/hulu/rye-lane-review) ## Details - **Director:** Raine Allen-Miller - **Director:** Raine Allen-Miller - **Writer:** Nathan Bryon, Tom Melia - **Cinematography:** Olan Collardy - **Editor:** Victoria Boydell - **Music:** Kwes - **Production design:** Anna Rhodes - **Costume design:** Cynthia Lawrence-John - **Producer:** Yvonne Isimeme Ibazebo, Damian Jones - **Cast:** David Jonsson as Dom; Vivian Oparah as Yas; Poppy Allen-Quarmby as Cass; Simon Manyonda as Nathan; Benjamin Sarpong-Broni as Eric; Karene Peter as Gia; Malcolm Atobrah as Jules; Alice Hewkin as Tabby - **Runtime:** 1h 22m - **Certificate (MPA):** R - **Release (the US):** 31 March 2023 - **Genres:** Comedy, Romance - **Box office:** $2 million - **Trailer:** https://www.youtube.com/watch?v=LZ9dZBfo4zY ## Where to watch in the US - Hulu: streaming, uhd - Disney+: add-on, uhd *Checked 2026-09-10.* Also available in: AR, AT, AU, BE, BG, BR, CA, CH, CL, CO, CZ, DE, DK, EC, EE, ES, FI, FR, GB, GR, HK, HR, HU, IE, IS, IT, JP, KR, LT, MX, NL, NO, NZ, PA, PE, PL, PT, RO, RS, SE, SG, SI, TR, US. Add `?region=XX` to this URL for another country. ## If you liked this - *Before Sunrise* (1995), Fi1m 89: The template: two strangers, one city, a night, and nobody in a hurry to leave. — [Fi1m page](https://film.one/film/before-sunrise.md) - *Medicine for Melancholy* (2008): Barry Jenkins walks two people through San Francisco and lets the city argue with them. - *Weekend* (2011), Fi1m 86: Andrew Haigh’s Nottingham two-hander, quieter and sadder, with the same faith in talk. — [Fi1m page](https://film.one/film/weekend.md) - *Lovers Rock* (2020): Steve McQueen’s one-night house party in west London, told almost entirely through dancing. - *Roman Holiday* (1953), Fi1m 88: The original day-out romance, with a Vespa where Rye Lane has a bus. — [Fi1m page](https://film.one/film/roman-holiday.md) --- © Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/rye-lane