Underground Orange

Michael Taylor Jackson's "Underground Orange" drops us into a world that feels both fantastical and viscerally real, where a Californian backpacker's yearning for belonging leads him into an entangled polyamorous relationship with a cadre of actors plotting to kidnap a US Ambassador.

The film distinguishes itself not just by showing queer and polyam relationships, but by weaving them into the narrative's very fabric without resorting to tired tropes. The central polycule isn't a source of cheap drama or sensationalism; it's the foundational dynamic of this chosen family, a source of their strength, their vulnerability, and their shared purpose. Jackson wisely portrays their entanglement with a matter-of-fact intimacy that's rarely afforded to polyam relationships on screen. We see the messy, beautiful reality of shared affection, conflict, and deep loyalty, allowing their relational structure to exist as a given, rather than a spectacle or a moral dilemma for the audience to judge. It's a HUGE breath of fresh air to witness consensual non-monogamy depicted with this level of emotional complexity and normalization, allowing the audience to focus on the characters' motivations and humanity and THE STORY, rather than their relationship style/sexuality, etc.

"Underground Orange" isn't just a comedic thrilling ride; it's a vital piece of cinema that pushes the boundaries of mainstream representation. It offers a much-needed, nuanced glimpse into polyam relationships and the formation of chosen families. It reminds us that diverse forms of love and connection exist vibrantly, unapologetically, and can drive narratives with compelling, human-centered power.

And the short of it: I saw myself and my chosen family in this film, and it genuinely moved me. People of every background should experience it, and especially queer and polyam people.

Watching Bajo Naranja at the International Film Festival of Kerala was a one-of-a-kind experience. The film is a daring mix of dark humor, emotional depth, and political undertones that kept me thinking long after it ended.

Michael Taylor Jackson not only acts but also directs, and his performance is as magnetic as it is gutsy. The entire cast brought such vibrant energy to their roles, creating characters that felt authentic, flawed, and human.

Bajo Naranja is bold, daring, and brimming with layers of meaning. It's the kind of movie that invites you to laugh, think, and question-sometimes all at the same time. If you're a fan of films that break conventions and leave a lasting impression, this is a must-watch. I highly recommend it.

I had the opportunity to watch Underground Oranges at IFFK and enjoyed it immensely. The film's unique way of blending politics with comedy made it a standout experience. During the Q&A session, we learned that the story is based on the director's own life, with him portraying the lead role himself.

The film highlights the courage it takes to stand for justice, especially when it means opposing your own country's stance. Another striking aspect is its exploration of gender, challenging conventional concepts and taking the viewer through a journey of gender conflicts, ultimately settling on the unifying idea of humanity.

This is true world cinema, and I strongly recommend it to everyone. It's a powerful and thought-provoking piece that deserves to be seen.

Privilege is a gently sloping hill that, to one standing at its peak, appears like level ground. It's often only that by coming down we see it for what it is. It should not be the obligation of everyone standing at the foot to shout out, "You're standing on a hill," yet we often leave this burden to them. This movie does an astonishing job showing you one fool's journey of being led down the mountain trail and finding themselves.

This colorful and vibrant film portrays queer expression as a natural state in a way that doesn't feel like commentary but beautiful existence. The intentional depiction polyamory feels like an earnest and almost selfless appreciation that pushes back on the cultural norms of ownership and jealousy by confronting these openly as inner struggles that aren't the subject's responsibility. One of the most emotional scenes shows the group pushing a member to call out this internal negativity to find catharsis.

The intersection of queer culture, polyamory, imperialism and piracy, activism, and moral accountability feels both poignant and organic. The writer/director/star is showing us a beautiful and intensely personal story that feels both expansive and precise - demonstrating how identity, whether it be queer, gender, or national, colors everything in life but doesn't constrain it.

In Underground Orange, Michael Taylor Jackson makes an audacious, affecting directorial debut that crackles with wit, heart, and cinematic daring. The film follows a Californian backpacker's surreal and emotionally charged descent into the bohemian underworld of Buenos Aires, where he becomes entangled in a polyamorous relationship with a magnetic gang of young actors-artists with dangerous ideas and a reckless plot to kidnap the U. S. Ambassador.

On the surface, the premise might read like a dark political thriller, but Jackson delivers something far more surprising and tender: a comedy-drama as aesthetically lush as it is emotionally intelligent, with clear stylistic echoes of Godard's rebellious formalism, the idiosyncratic charm of Wes Anderson, and the deadpan innocence of Napoleon Dynamite. There's a wry, near-whimsical rhythm to the dialogue and staging, but beneath it hums a smart, subversive critique of American entitlement, neocolonialism, and performative idealism.

The visual storytelling is daring but never self-indulgent-an intoxicating mix of saturated colors, kinetic jump cuts, and notes of Fassbinder's incisive social realism. Yet Jackson doesn't stop at homage. He builds his own language, one that's refreshingly attuned to the textures of youth, resistance, and sexual liberation.

At the film's core is a fierce spirit of inclusivity. Jackson handles themes of gender fluidity and non-traditional relationships not as spectacle but with an honesty and joy that feels quietly revolutionary. His polyamorous ensemble never feels like a gimmick or symbol-they are real people, flawed, funny, and profoundly alive. The performances, especially by the Argentine cast, are disarmingly raw and playful, with Jackson himself anchoring the story in a performance of quiet vulnerability and surprising comedic timing.

Few debut films feel this fully formed. Underground Orange balances satire with sentiment, chaos with control. It doesn't scream to be important-it just is. Jackson shows a filmmaker's command of tone, pacing, and social nuance well beyond his years. This is the work of a director who trusts the audience, who trusts silence and absurdity and contradiction. The film leaves you with a lingering sense of possibility-cinematic, emotional, and political.

Michael Taylor Jackson has emerged as one of the most exciting new voices in contemporary cinema. In a landscape often dominated by formula, Underground Orange is thrillingly singular; a deserving contender for Best International Feature Film.

Underground Orange is a strange, sweet, and subversive triumph-a film as free-spirited as its characters, and a calling card for a brilliant new auteur.