Zosia Mamet and Matthew Shear in The Boy Downstairs (FilmRise)

Set in a certain sphere of New York romantic comedies, The Boy Downstairs explores first love and creative ambition. With Girls’ star Zosia Mamet in the lead role, Sophie Brooks’s first feature follows in a similar vein to that hit TV show and Noah Baumbach’s movies. Unlike these examples, the film falls flat in only holding one or two fully realized characters, without striking either a notable comedic or convincing romantic tone.

It starts as Diana (Mamet) and Ben (Matthew Shear) kiss upon the steps of his apartment. The narrative then skips three years: Diana is now awaiting the arrival of her friend Gabby (Diana Irvine). Technically homeless after returning back from her prolonged absence in London, Diana searches for an apartment, with Diane offering a short term place to stay. Stumbling upon a bright, naturally lit space in Brooklyn, she lands an idyllic home, until she discovers Ben, her ex-boyfriend, lives in the same building. (Ben is your generic Brooklyn Dude, held together by nothing more than his disheveled personality.)

The somewhat clichéd material undercuts Mamet’s vigor, and the little moments of comedy do not add anything significant and fail to produce any pathos toward the characters. (Both Lady Bird and The Big Sick prove that movies can have sparks of originality within a certain genre without relying on clichés.)

The overtly quirky dialogue, such as in Diana and Ben’s first conversation comparing a modernist art exhibition to being on acid, only distances the viewer from believing fully in the relationship. Stretches of the film become tedious and extraneous—even though it runs at a tight 90 minutes. Awash with the gentrified streets of Brooklyn, where barely anyone of any ethnic diversity appear, the whole piece is a millennial delusion. No ambition or literary influences are given to Diana, who only flirts with the idea of being a writer. The only saving grace is the credible strains that come with visas applications and the prospect of moving across the Atlantic.

Possibly setting the film away from the streets of Williamsburg could have been one step to avoid clichés. It would have been best if Diana had ignored the boy downstairs and looked elsewhere.