If ever there was an overlooked film, Love, Ludlow would be that film. Roger Ebert's Overlooked Film Festival is a fantastic way to shed some light on some fantastic overlooked films, but I was semi-disappointed that this film did not attract his attention. Not that the films that he screened weren't fantastic, but I think this one could have attracted a larger audience with the right marketing. After appearing at the 2005 Sundance Film Festival and becoming an Official Selaction, Love, Ludlow disappeared, away from the public and critic alike. Sitting lonely on the shelf of the video store I work at, the only copy of Love, Ludlow seemed overshadowed by the big market (and often nauseating) blockbusters that litter the shelves. The film's director is Adrienne Weiss, who takes her second, and supremely successful, shot at directing. As the director is virtually unknown, she uses actors that aren't really prime time. Many may recognize David Eigenberg from HBO's Sex and the City, and many others may recognize Alicia Goranson from the hit 90's series Roseanne. Goranson is Myra, a twentysomething temp, working for a small corporation in New York, and washing some of local tenants' laundry so she can support herself and her brother Ludlow (Brendan Sexton III), who is mentally challenged and was left to her keeping after the death of their mother. Eigenberg is Reggie, a co-worker of Myra's, who becomes attracted to her angry, Bronx-girl personality. They begin to date, and we begin to see Ludlow feeling like a third wheel in the relationship. Although we feel bad for Ludlow, we certainly cannot expect Myra staying single just to spend every waking moment with Ludlow. Ludlow begins to act out, taking Reggie's keys and making him pay forty dollars, and spend the night to get them back. Reggie tries his best to form a positive relationship with Ludlow, but as Reggie gets closer, Ludlow pushes him away. Eigenberg does his best work in this film, and we see early in the film his frustration with Ludlow, only to lead to a scene where he blows up and yells at Ludlow for "running away". Sexton does a nice job of playing Ludlow without venturing into the more severely disabled roles of Hoffman's Rain Man or Sean Penn's I Am Sam, and I enjoyed watching his performances and seeing where he would take the character next. Goranson, on the other hand, was more difficult to disect. At first I thought her performance was a bit stiff and unchallenging, but as I look further at it, she does a decent job at conveying a character who hides her emotions behind a wall, that is her Bronx-girl attitude. We do see her break down once or twice in the film, but it is always restrained as she tries to put out a strong personality. She is, in fact, semi-new to the idea of dating, and she has never really expressed other emotions, besides anger. She needs to be tough. She is living in a world where a large amount of responsibility has been dumped on her, and no one, even the tenants in her building, shows much sympathy. The film is a quick, 86-minute view, and I highly reccomend seeing this film. It has good leading and supporting performances, although, I could have done without some of the eccentricities that come with some of these characters. The character of Carol, a co-worker of Myra's who lives with her mother, is a bit unneccesary in the beginning, and I wasn't really compelled by her. She does provide a moment of relief during a very funny scene involving yet another co-worker named Storkelson, a sexist pig who insists on sharing his sexual stories. Overall, Love, Ludlow is not the best film of 2005, but it is funny, charming, and highly entertaining.