The New York City skyline is one of the tired titans of American imagery. To put it more charitably, it’s awfully difficult to fill a movie with classic images of Gotham and finish with something original and interesting. In Ira Sachs‘s newest feature, Love Is Strange, one of his characters goes to the trouble of actually painting the view of Manhattan from a Brooklyn roof. This particular canvas becomes one of the most emotionally charged symbols of the film. In the hands of a less assured director, it would be entirely ponderous. Yet Sachs knows his way around the city, so to speak. His last feature, Keep the Lights On, charted the heartbreaking decline of a relationship against the backdrop of a hazy metropolis. Love Is Strange, on the other hand, finds a much clearer and brighter source of light. Ben (John Lithgow) and George (Alfred Molina) are an aging couple finally, legally, getting married after almost 40 years. The film begins with their wedding, a lovely outdoor affair followed by a reception in their apartment. There Sachs introduces all of the supporting players, including an adoring novelist niece named Kate (Marisa Tomei) and some neighborly gay policemen (Cheyenne Jackson and Manny Perez).