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Transatlantic Coffee

Two unlikely friends, a teenage stripper from London and a traumatized clown, try to help each other in an uncertain world. Two unlikely friends, a teenage stripper from London and a traumatized clown, try to help each other in an uncertain world. Two unlikely friends, a teenage stripper from London and a traumatized clown, try to help each other in an uncertain world.

• Erik Peter Carlson
• Kevin Pinassi
• Rae Olivier
• Marcel Torres
• 34 User reviews
• 62 Critic reviews
• 7 nominations

Top cast 30

• (as Rachel Marie Lewis)

• (as Stephanie Domini Ehlert)
• Jazz Singer

• Angry Customer

• Nightclub MC
• Store Owner
• Sleazy Guy in Nightclub
• (as Grace Anne)

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• Trivia A character in the script who was eventually cut, was played by an actor who passed away during the shooting schedule.

Alex : There's a hole in my heart and color is pouring out. I have forgotten who I am. I'm trying to find something real to hold on to.

• Soundtracks Angel Eyes Written by Earl K. Brent and Matt Dennis Performed by Alix Paige Courtesy of Music Sales Publishing Group

User reviews 34

• ephraimrosenbaum
• May 18, 2017
• I saw the film today and I thought the characters were so great- they really made the movie. Where did you get the idea for Alex and Mandy? Were they based off real people?
• Why was the masturbation scene so long? I know it created a feeling of discomfort, any other reason?
• How did you managed to finance the film?
• January 6, 2013 (United States)
• United States
• Official Blog
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• Kawa Transatlantyckie
• Bronx, New York City, New York, USA
• Riding Hood Motion Pictures
• See more company credits at IMDbPro

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• Runtime 1 hour 44 minutes
• Dolby Digital

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Kevin Pinassi, Rachel Marie Lewis, Marcel Torres Erik Peter Carlson NR 104 Mins. Indie Rights

that I found myself tempted to hit the ole' "stop" button and give up on the film. It's not what I'd call an "entertaining" film as much as it is a challenging film that fits quite well within the world of indie cinema. If I had to venture a guess, I'd say that a good majority of mainstream America would hate this film, not so much because it does occasionally meander too much and suffers at times from its status as a lower budgeted film but because it's the kind of film that doesn't compromise Carlson's vision for the sake of making it more palatable. I have to be honest. wasn't even remotely what I expected from the film. While that's not particularly a bad thing, it does make for an interesting challenge for those who are tasked with marketing the film as it ventures out into theatrical and online distribution formats. The film is a love story, of sorts, that's inspired by a true story. Boy meets girl. Boy falls in love with girl. Boy is a 41-year-old clown. Girl is a teenaged stripper from London. You know? The usual love story. Alex (Kevin Pinassi) is battling the bleakness of his life, a bleakness that is given a certain brightness when Mandie (Rachel Marie Lewis) enters it. Despite their apparent differences, the two embrace each other for who they are ... at least until Alex's secret trauma bubbles to the surface and the film spirals into an ending that, for me, made all the frustrations along the journey worthwhile. is prime festival material, its thoughtful and uncompromising material sure to please a good number of those who don't just watch films but digest them. D.P. Dan Witrock's cinematography is outstanding, offering the film a look at times innocent, at times grim, at times humorous and sometimes just downright baffling. This is the kind of film that you can't really turn away from without missing something, and Witrock's camera work does a terrific job of serving as a companion and guide for the film's many layers. The same is true for the production design of David Dean Ebert, which affords the film a genuineness that helps keep even the most resistant moviegoer invested in the characters. The film was nominated for several prizes at Dances With Films and Park City Film Music Festival, and Carlson himself has been a tireless advocate for the film resulting in dozens of reviews in a world where even getting a couple reviews can be challenging for an independent film. The film picked up a Best Picture prize at L.A.'s New Wave International Film Festival. is currently available through Amazon On Demand and other online outlets. In an offbeat way, brings to mind Wade Roberts' a delightful little indie film from a few years back starring Sid Haig as a clown struggling to find what amounts to his comic mojo. While the themes are different in focus, this film really blossoms when Mandie enterts the picture, however, that's as much because Rachel Marie Lewis is an absolute delight. goes places you don't expect it to go, while having the cinematic balls to remain committed to Carlson's obviously disciplined vision. While this film isn't necessarily a film for a wider audience, for those who give it a chance and who can appreciate truly indie cinema the reward will be a film that will have you thinking about it long after the closing credits.

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Transatlantic Coffee Reviews

Goes places you don't expect it to go, while having the cinematic balls to remain committed to Carlson's obviously disciplined vision.

Full Review | Original Score: 2.5/4.0 | Sep 26, 2020

Transatlantic Coffee (2011)

Content by Tony Macklin . Originally published on February 15, 2012 @ tonymacklin.net .

The other day I was at the Doughnut Shop having a cup of coffee.

I was trying to decide what film to review. Which Hollywood conveyer belt was I going to take it from - the jerky, handheld conveyor belt of Safe House, the spongy conveyor belt of The Vow, or the 3-D conveyor belt of Journey 2: the Mysterious Island?

I looked out the window of the Doughnut Shop. It was an unusually bleak day. I watched a limping pigeon on the asphalt.

For some reason it reminded me of an independent film I'd recently seen. The bird seemed vulnerable and enigmatic.

The indie is called Transatlantic Coffee , and was shot in New York on a low-budget. I had decided not to review it because it hadn't really worked for me. I had problems with some of the casting and the uneven direction and writing, but the limping pigeon reminded me of it - and not in a bad way. It changed my mind.

The limping pigeon seemed as vulnerable as the indie movie. But the remarkable thing is that the movie was made on a low-budget. In a world of digital eagles and digital hawks, an actual pigeon makes a telling contrast.

The making of the movie is an admirable accomplishment.

The late master film critic James Agee stated that he looked for an elbow - something positive - in each movie. Will a wing suffice?

The best element in Transatlantic Coffee is that it is a visual experience. Director Erik Peter Carlson and cinematographer Dan Witrock create some scenes of vibrant color and light. They are evocative.

There are some good lines in Carlson's screenplay, e.g., music "is a mental recording of the time." But sometimes the dialogue is strained and blatant. A sequence at a dining table when a mother spews cliched hatred is over the top.

Often an independent movie's greatest vulnerability is its acting. Watching indies makes one especially aware of the difference between accomplished film actors and amateurs.

Transatlantic Coffee is the story of an alienated 41-year old man Alex (Kevin Pinassi) who brings a young woman Mandie from London to his apartment in New York for companionship and connection. It is the essential odd couple.

The performer that best succeeds is Rachel Marie Lewis, who portrays the spirited Mandie.

Transatlantic Coffee has a surprise ending, which gives it some lift.

Like Transatlantic Coffee , the limping pigeon outside the window of the Doughnut Shop suddenly flew off.

The movie and the bird may not have soared, but they both took flight.

© 2000-2024 Tony Macklin

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Two unlikely friends, a teenage stripper from London and a traumatized clown, try to help each other in an uncertain world.

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Inspired by a true story, TRANSATLANTIC COFFEE is a tale of boy meets girl, boy falls in love with girl …only the boy is a 41 year old clown, the girl, a teenage stripper from London. Alex is battling bleak circumstances within his version of a hostile world. However, his outlook evolves with the emergence of the young, sharp and adventurous, Mandie. The oddball duo embrace each other for who they are, until Alex’s secret trauma bubbles to the surface, leaving for a climax that should not be missed. A story of lust, love, loss, yearning, and ultimately confusion amidst a city in the shadows of tragedy.

2 hr 24 min | 2012

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Watch 'transatlantic coffee' online.

Yearning to watch ' Transatlantic Coffee ' on your TV, phone, or tablet? Discovering a streaming service to buy, rent, download, or view the Erik Peter Carlson-directed movie via subscription can be a huge pain, so we here at Moviefone want to do right by you. We've listed a number of streaming and cable services - including rental, purchase, and subscription options - along with the availability of 'Transatlantic Coffee' on each platform when they are available. Now, before we get into the fundamentals of how you can watch 'Transatlantic Coffee' right now, here are some finer points about the Riding Hood Motion Pictures romance flick. Released November 20th, 2012, 'Transatlantic Coffee' stars Kevin Pinassi , Rae Olivier , Marcel Torres , Stephanie Domini Ehlert The movie has a runtime of about 1 hr 44 min, and received a user score of 37 (out of 100) on TMDb, which assembled reviews from 3 experienced users. Want to know what the movie's about? Here's the plot: "Two unlikely friends a teenage stripper from London and a traumatized clown try to help each other in an uncertain world" 'Transatlantic Coffee' is currently available to rent, purchase, or stream via subscription on Apple iTunes, Plex, Google Play Movies, Plex Player, YouTube, Amazon Video, VUDU Free, Tubi TV, and Vudu .

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Transatlantic Coffee

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Genre	Drama
Format	NTSC
Contributor	Kevin Bar, Yoko Lytle, Erik Peter Carlson, Kevin Pinassi, Rachel Marie Lewis, Marcel Torres, Erik Peter Carlson
Language	English
Runtime	1 hour and 44 minutes

Product Description

Inspired by a true story, "Transatlantic Coffee" is a tale of boy meets girl, boy falls in love with girl...only the boy is a 41 year old clown, the girl, a teenage stripper from London. Alex is battling bleak circumstances within his version of a hostile world. However, his outlook evolves with the emergence of the young, sharp and adventurous, Mandie. The oddball duo embrace each other for who they are, until Alex's secret trauma bubbles to the surface, leaving for a climax that should not be missed.

Product details

• Aspect Ratio ‏ : ‎ 1.33:1
• MPAA rating ‏ : ‎ NR (Not Rated)
• Product Dimensions ‏ : ‎ 7.5 x 5.5 x 0.5 inches; 2.72 ounces
• Director ‏ : ‎ Erik Peter Carlson
• Media Format ‏ : ‎ NTSC
• Run time ‏ : ‎ 1 hour and 44 minutes
• Release date ‏ : ‎ November 23, 2012
• Actors ‏ : ‎ Kevin Pinassi, Rachel Marie Lewis, Marcel Torres
• Producers ‏ : ‎ Kevin Bar, Yoko Lytle, Erik Peter Carlson
• Studio ‏ : ‎ Indie Rights
• ASIN ‏ : ‎ B00AC9K03G
• Writers ‏ : ‎ Erik Peter Carlson
• Number of discs ‏ : ‎ 1
• #48,882 in Drama DVDs

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Watch Transatlantic Coffee

• 1 hr 44 min
• 6.4   (435)

Transatlantic Coffee is a 2012 independent drama directed by Erik Peter Carlson. The film follows two characters, an elderly British author, Robert (Kevin Pinassi) and a young American musician, Virginia (Rae Olivier), who are brought together by their love of coffee and conversation. Their chance encounter at a coffee shop in California turns into a deep and nuanced conversation that delves into their personal histories, their relationships, and their aspirations. Guided by their shared passion for coffee and a desire to understand each other, the unlikely pair form a bond that transcends their differences in age, nationality, and background.

The film is structured around four conversations that take place over several months, starting in the summer and ending in the winter. In each conversation, Robert and Virginia revisit the coffee shop where they first met and engage in a deep and thoughtful dialogue that is framed as a series of flashbacks.

The first conversation is the longest and centers on Robert's past. The old man reveals that he is a retired author who never married, and he divulges the reasons for his solitary life—the death of his wife and unborn child during childbirth many years ago. As Robert talks about his past, Virginia empathetically listens and eventually opens up about her own troubles—she is a musician who has recently broken up with her boyfriend and is struggling to make ends meet in Los Angeles. Although Robert and Virginia have lived vastly different lives, their shared experience of loneliness and heartache creates an emotional connection between them.

In the second conversation, Robert gets to learn more about Virginia's music and the people she has met along the way. Virginia shares stories about the colorful characters in her life, and Robert reflects on his own missed opportunities for connection. Their conversation leads them to consider the ways that humans form bonds with others, and how those connections can shape the course of a person's life.

The third conversation marks a turning point in the film when Virginia reveals to Robert that she is pregnant. After some initial shock, Robert rises to the occasion, offering her words of encouragement and support. He shares his own experience of the joy that comes with having a child and encourages Virginia to have faith in herself and her abilities. This conversation takes on a nurturing tone, with Robert's paternalistic instincts kicking in.

The final conversation takes place in the winter, with Robert and Virginia discussing the ways in which their lives have changed since they first met. Virginia has given birth to a healthy baby girl and is now in a more stable place emotionally and financially. Robert, on the other hand, has had a health scare and is coming to terms with his own mortality. As they reflect on these significant events, they both realize the impact that their conversations have had on their lives.

Transatlantic Coffee is an intimate and introspective film that explores the power of human connection through two characters who may not have otherwise met. Both Kevin Pinassi and Rae Olivier give natural and nuanced performances, allowing the audience to become immersed in their conversations without feeling like they are watching a traditional movie. The film's minimalist approach and emphasis on dialogue may not be for everyone, but for those willing to immerse themselves in this quiet and contemplative world, it is a deeply rewarding experience. Erik Peter Carlson's direction is masterful, allowing the dialogue to take center stage and never getting in the way of the characters' emotional journeys.

While the film is primarily driven by dialogue, Carlson injects it with visual cues that punctuate the weight of the conversations. Whether it's the passing of the seasons, the sunlight in the coffee shop or the changing tones of light as evening comes on, Carlson uses these small but effective details to create a visually immersive experience.

There are no easy answers or neat resolutions in Transatlantic Coffee, as the film's focus remains squarely on the human experience. Robert and Virginia's conversations are intimate and revealing, but they are not meant to provide a definitive solution to life's problems. Rather, they serve as a reminder that through shared experiences, we can find common ground in moments when life's difficulties seem insurmountable.

Ultimately, Transatlantic Coffee is a beautifully crafted film that uses deft dialogue and restrained direction to create an intimate portrait of two people struggling to find meaning in their lives. It's a quiet film that rewards those willing to look past its minimalist approach and into the powerful bond that can be formed over a simple cup of coffee.

Transatlantic Coffee is a 2013 romance movie with a runtime of 1 hour and 44 minutes. It has received moderate reviews from critics and viewers, who have given it an IMDb score of 6.4.

• Genres Romance Comedy Drama
• Cast Kevin Pinassi Rae Olivier Marcel Torres
• Director Erik Peter Carlson
• Release Date 2013
• MPAA Rating NR
• Runtime 1 hr 44 min
• Language English
• IMDB Rating 6.4   (435)

Movie Reviews

Tv/streaming, collections, chaz's journal, great movies, contributors, netflix's wwii drama transatlantic offers bittersweet salvation.

Tales of heroism set during World War II are a dime a dozen—typically mud-soaked soldiers on valiant missions behind enemy lines, shooting at Nazis with blood-soaked gusto. "Transatlantic," Anna Winger’s new limited series for Netflix, reminds us that heroes weren’t always forged behind the barrel of a gun. Sometimes, they were ordinary civilians, using what privilege they had to save not just the people hunted by the Third Reich but the culture they wanted to eradicate from the face of the Earth. 

In Winger’s (and co-creator Daniel Handler ’s) case, the heroes highlighted are the ad-hoc Emergency Rescue Committee founders, who successfully smuggled 2,000 of Europe’s foremost artists, thinkers, and academics to safety in America through the risky ports of Marseille in 1940. The US is still clinging to a thin veneer of neutrality, turning away refugees by the hundreds while plugging their ears and humming while the Third Reich spreads throughout Vichy, France. Meanwhile, the stalwart founders of the ERC—including former journalist Varian Fry ( Cory Michael Smith ) and principled Chicago heiress Mary Jayne Gold ( Gillian Jacobs )—burn up what political and financial capital they have left to get luminaries like Hannah Arendt, Walter Benjamin, and Walter Mehring out of the country before the Nazis can find them. 

While that sounds like a recipe for melancholic intrigue, “Transatlantic” has a bittersweet, Classic Hollywood vibe, evoking the historical romance of “ Casablanca ” in its lush, vibrant presentation. When it’s not playing with surrealism and German Expressionism in its fragmented, black-and-white intros and credit sequences, father-son cinematographers Wolfgang and Sebastian Thaler soaks 1940 Marseille in crisp, saturated colors, bouncing off Justine Seymour ’s vivid costumes and the ornate decoration of the Villa Air-Bel. This ramshackle mansion eventually becomes the ERC’s waystation for its rogue’s gallery of big thinkers. 

And to its credit, this surprising sunniness brings a welcome sense of relief to much of the show’s darker material. While these are grim times, we’re not following grim people: These are idealists, hoping (perhaps naively) to preserve what they feel is most important—the art and philosophy that elevates a society beyond mere survival. And as they await the next phase of their exodus from peril, the idiosyncratic group of refugees finds the time to sing, dance, and fall in love in the sun-dappled oasis of the Villa Air-Bel. These moments help save “Transatlantic” from becoming a stew of genocidal misery.

But at the same time, Winger and Handler (following the template laid out in Julie Orringer’s novel The Flight Portfolio , from which this is a loose adaptation) struggle to balance that tone with the innate seriousness of the proceedings, and its seven short episodes occasionally spread themselves too thin. In addition to Fry and Gold’s broader efforts, we must also zero in on their personal struggles—Fry’s secret love affair with fellow volunteer Thomas (Amit Rahav), Gold’s negotiations with blinkered American Consul Graham Patterson ( Corey Stoll , delightfully droll), and so on. On top of that, many freedom fighters are taking more direct, violent action to contrast with the ERC’s more humanitarian efforts, including African immigrants (like Ralph Amoussou’s bellboy Paul Kandjo) looking to defend themselves from another, the more potent flavor of subjugation. Add to that Patterson’s own politicking with French police lieutenants and the push and pull between passive and active resistance among a host of other characters, and “Transatlantic” finds itself with little room to flesh all these threads out as complexly as it should.

Such hastily-juggled storylines and tones make the whole thing feel incomplete, especially considering the deliberately meandering pace the seven episodes go for. Sure, it’s fun to watch Mary Jayne bedazzle unsuspecting marks with her classical good looks and her disarming little pooch Dagobert, or Walter Mehring drunkenly improvise a satirical song ragging on Hitler while jumping from hotel bed to hotel bed. But these moments often undercut the broader air of menace that hangs over the characters, especially when it begins costing lives. One episode centers almost entirely around a droll, surrealistic birthday party for painter Max Ernst, which is diverting enough before you realize these people should be fearing for their lives.

Then again, that’s the bittersweet appeal of “Transatlantic,” a show about people desperately clinging to some sense of normalcy in a world slowly trying to eliminate them. Villa Air-Bel becomes a liminal space between imprisonment and freedom, the rare place these abject artists, Jews, and homosexuals can truly be themselves. They rage against the dying of the light, partying their hearts out because, at some point, jackboots will come marching down their street. With the threat of Nazi extermination so close behind you, do you focus all your energies on survival? Or do you try to make what could be your remaining days as full of love and life as possible? "I thought that we would live here forever," Fry sighs to Thomas of the villa late in the series. Thomas’ response? "For a moment, so did I."

When “Transatlantic” relishes in these moments of poignancy, it approaches the complexity that made Winger’s previous Netflix hit, “Unorthodox,” so successful. The performances are game—Jacobs’ alluringly contemporary performance earmarks just how out of place this Chicago dilettante is in the world of spycraft, and Smith’s Fry is appropriately conflicted between his duty to his mission and the forbidden love he’s found in Marseille. But the series sacrifices a bit of depth in exchange for accessibility, keeping its famous players at arm’s length and speedrunning through the honorable work the ERC did in real life. They’re ultimately small complaints; the series is entertaining and digestible in its own right. But it’s frustrating to see how those small tweaks could have elevated this show to true greatness.

All of season one was screened for review. "Transatlantic" is now playing on Netflix. 

Clint Worthington

Clint Worthington is a Chicago-based film/TV critic and podcaster. He is the founder and editor-in-chief of  The Spool , as well as a Senior Staff Writer for  Consequence . He is also a member of the Chicago Film Critics Association and Critics Choice Association. You can also find his byline at RogerEbert.com, Vulture, The Companion, FOX Digital, and elsewhere. 

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