Tag: DRAMA

JEFF OF THE CINEFILES & UNFINISHED BUSINESS: HALL OF FAME – FILE #0075: THE FAN (*DER FAN) (1982)

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Written & Directed By: Eckhart Schmidt 

Cinematography: Bernd Heini

Editor: Patricia Rommel and Raoul Sternberg 

Cast: Desiree Nosbusch, Bodo Staiger, Simone Brahmann, Jonas Vischer, Helga Tolle, Klaus Munster, Ian Moorse, Wilfried Blasberg 

The hero-worship that Simone has for a pop singer is built to a crescendo until she passes out when she finally sees him up-close in a crowd of fans pushing him for autographs. She is later shocked when he lets her know that he does not love her. In an instant, she is caught “in a trance” and feels a murderous urge that is bigger than the both of them.

This review is spoiler-heavy. it’s advisable to watch the film first as this is more a discussion than a review.

This is a film one has waited quite some time to find and finally watch. It’s a film that it heard about over the years and looked forward to then saw a very, simply not as some cinematic lost Grail.

It’s a nice switch from the usual fan films where it’s usually a male stalking a female or stalking another male making it more homoerotic for the ladder, but in the former and obsession that they try to turn erotic or romantic.

A story that works like a mixtape has a different cut or see as time goes by. It’s also set at a time place and culture around a music scene that was modern at the time and very specific. 

This film deals with the same only from a female fan stalking a male rockstar. The girl is a teenager, and by far is the more gruesome of any star obsession film, as this is more a psychological drama rather than an action thriller.  

It can also be seen at first as a coming of age story that Can be seen as a rite of passage a crush on a superstar that gets to be an obsession as a fan for a teenage girl.

It also dives more into the psychology of the obsession as since it’s an underage girl it is mostly thought that it’s puberty and emotions taking over but soon realizes that it’s nothing more than a crush and that it should be rather harmless this film and the character takes it more to an extreme.

The film shows the depth of fandom, but also obsession. Believing that she is the only one who knows and understands him and that all the others are just there more for the money and Fame.

The film is more psychological than physical love it or hate it. It’s a conversation starter. 

The main character doesn’t speak much, except in her letters to the star and in monologues. Desiree Nosbusch Gives an unforgettable performance as Simone.

The audience witnesses how unstable she is to a degree in her day-to-day life as her obsession takes over all of her thoughts and actions and she cares little about anything else.

The audience suspects where it will mostly go or what will happen as the film takes its time with the situation, especially once she finally gets to meet him.

We watch as she runs away into Wonderland and finds a monster of sorts and sheep’s clothing that she believes to be her prince.

We watch as she somehow Wills her fantasy to come true with interest, and then practically the unraveling of what she sees as a romance, and what he sees as a hook-up.

Which is like an artistic love scene presenting themselves to one another before it seems to take a turn, and after he gets what he wants and is ready to throw her away or dispose of her. It is in close-up as we are now in her fantasy or viewing it through that lens once the camera pulls back after we are brought into reality just as she is.

We know something will happen, but can’t predict how severe, especially without the innocent and clean or at least non-exploit of the movie has been up to this point. It’s had its rough edges, but it’s practically been more passive, which makes it all the more upsetting.

This is not the type of film where you are waiting for a demise or where the film gets you excited or expecting any sort of violence. The film seems a bit off at first, then gets disturbing and gruesome.

The film even early on makes a point of presenting Hand-holding as a sign of who cares and who doesn’t.

Nothing that happens seems to be premeditated. Some could argue. The actions are to happen in the heat of the moment or being so young and emotionally out of control. 

It seems to go way too far though we might understand her initial act, becomes a mix of saving herself, but also still having a sick obsession and sickness with this rockstar.

The film is not as violent or as expected, though it might be the cut I viewed.

There is only one part that is not that believable as it is too clean and too fast, which is devouring him a bit cannibalizing him or at least pieces of him or at least the essence of him as a goodbye or farewell. That’s where it goes overboard but smart and getting away with fashion. Even though that is probably one of the more memorable parts of the film.

She doesn’t seem to learn her lesson as she is still delusional by the end and blocking out her act and now might be delivering his child who she believes will be reborn.

The film also has long drawn shots, but little dialogue, a synth-pop score that gets into your head. that goes well with the action and ending as once you step away from this film it is certainly one that you won’t forget easily.

The film does seem to have 3 acts 

Act 1 – Introduction/desire 

Act 2 – meet & greet romance 

Act 3 – the aftermath 

Grade: B

THE FEELING THAT THE TIME FOR DOING SOMETHING HAS PASSED (2023)

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Written, Edited & Directed By: Joanna Arnow 

Cinematography: Barton Cortright 

Cast: Joanna Arnow, Scott Cohen, Babak Tafti, Michael Cyril Creighton, Alysia Reiner, Peter Vack, Parish Bradley, Rushi Birudala 

A mosaic-style comedy following the life of a woman as time passes in her long-term casual BDSM relationship, low-level corporate job, and quarrelsome Jewish family.

This film feels like a collection of mundane experiences suffered by the main character well, also letting the film is autobiographical as it is written and directed by its lead, and her parents play her parents, and friends fill out the cast. 

The film would seem to most like a sad, sad comedy that would feel like it follows in the footsteps of such filmmakers as Woody Allen and Todd Solondz where there might be a kind of sadness about the characters who either seem to be taken advantage of or bring on the bad things that happened to them somewhat punished by society. 

Only what’s different is The main character isn’t so much a victim as she seems to welcome it and seems content with her life, relationships, and situations. The film is just trying to show her reactions to the situation, she finds herself in and she comes across as one of the more normal characters as all the other characters come off as rather quirky or disturbed. 

The film also tries to present BDSM relationships in a droll way. As a tries to show modern dating with a dry sense of humor. That at times comes across as brutally honest, but with humor.

There’s a film that’s not gonna be for everybody. it might take a while for you to get on its wavelength but once you do, it’s smooth sailing as long as you are digging what you have seen so far.

Watching the film, it almost comes across as a visual journal of our lead character. Where she doesn’t try to sugarcoat or make anyone including herself look good it’s presented matter-of-factly, even allowing herself to be for half of the film. 

For some the film or the situations as depressing and almost like a form of degradation. Which, for most, it might be, but here it actually shows the characters enjoying themselves for the most part.

Think Lena Dunham and her early films and even girls only with no real group of friends so that the main focus is on her and some odd supporting characters. As the tone goes from absurd to reality. 

The film might throw some people off at first you just have to get into it sensibilities as it does showcase as sensitive charm many times and it’s style and tone.

It definitely shows a singular vision where the first half of the film is more random and the second half seems to get more into a plot, whereas the first half of the film is more showing her day-to-day life and seeing various people other than a recurring boyfriend like character, the second half focuses More on her, trying to maintain a relationship with a new guy who’s not used to her form where it feels like the film has shown enough of her background at that point so that we see the character and trust her alone and not reacting off of a series of familiar characters so the second half is kind of like seeing a normal character interact with her and how they react

This film really shocked me at how enjoyable it was and how much one could get into the film with just the nitty-gritty and didn’t need so much dressing or packaging around it is definitely to try and watch. In the end won’t say it’s necessarily rewarding but as a film fan her artistry while semi-autobiographical it’s also admirable.

One can’t wait to see more films and art by her.

Grade: A 

LOUSY CARTER (2023)

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Written & Directed By: Bob Byington 

Cinematography: Carmen Hilbert and Lauren Pruitt 

Editor: Kristie Boustedt 

Cast: David Krumholtz, Martin Starr, Luxy Banner, Olivia Thrilby, Jocelyn DeBoer, Stephen Root, Macon Blair, Andrew Bujalski 

Man-baby Lousy Carter struggles to complete his animated Nabokov adaptation, teaches a graduate seminar on The Great Gatsby, and sleeps with his best friend’s wife. He has six months to live.

Watching this film is kind of like reading a novella. It’s not quite 90 minutes well short of it but over an hour and is more of a character piece with a lead character who sets up most of the film entertainment as he seems to be a very morose and depressed guy, surrounded by characters who are supposed to be friends, family, and colleagues who don’t seem to really like him, but keep him around as they think they are better than him or to make themselves look better in some kind of light

Did I mention this is supposed to be a comedy, to tell the truth, if it wasn’t for the actors being so likable in their rules and this undercurrent of dead comedy throughout the film really wouldn’t work.

Though it has a charm to it, it is ultimately a tragedy of comedic proportions as the lead can’t seem to ever catch a break through his own stubbornness at times and he is dealt.

Even his ex-girlfriend doesn’t seem to be fond of them, nor the woman he is sleeping with even his student who seems to find a fascination in him as much as he finds a fascination in her there more to make herself feel better with his bad luck.

This is for the viewer who likes their comedy warped and sad but funny enough to keep from being down in the dumps and far from tragedy. 

Veteran character actor David Krumholtz in the rare leading role totally sells his character and the film and is what makes this film so watchable. It tries to take a stab at the intellectual college crowd, though offers a bleak outlook that is more humorous than depressing, which is what makes the film stable and keeps the audience engaged.

The film even offers a joke at the end for the audience and on the audience. 

Grade: B 

CRIMES OF THE HEART (1986)

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Directed By: Bruce Beresford 

Written By: Beth Hanley 

Cinematography: Dante Spinotti 

Editor: Anne Goursaud 

Cast: Diane Keaton, Tess Harper, Jessica Lange, Sissy Spacek, Sam Shepard, David Carpenter, Hurd Hatfield, Beeson Carroll  

Three sisters with quite different personalities and lives reunite when Babe, the youngest, has just shot her husband. Oldest sister Lenny takes care of their grandfather and is turning into an old maid. Meg, who aspires to make it in Hollywood as a singer and actress, has had a wild, man-filled life. Their reunion is joyful but also stirs up much tension.

This is one of those films that seems to be a claim for its time and while it’s not horrible, not a film can easily get into.

As the story is obviously based on a play and that they’re in lies the problem as lived in as the direction production design and dialogue, tries to feel the acting feels like it is more a writer’s invention rather than necessarily natural.

So that throughout while quirky and revelatory, and at times it might seem relatable. It always feels more like a production than anything that rings true. This can be fine but for such a film that wants us to feel down deep at times, it feels almost like a designing women episode that’s been extended.

Not to mention some of the stories, mindset, and plot lines that make up this film might’ve been passable and somewhat racy back then, but now it feels more taboo and unacceptable, and today’s climate.  

One can understand going for realism, but there is one scene in the use of racial language that just seems maybe natural for the character but just seems inappropriate for the film, and the mood and tone that it seems to be going for don’t sink into the film just throw it off at times. Same thing where Sam Shepard Dr. character has messed up teeth for no reason then to maybe make Shepard not seem like such a dreamboat and more like a regular character or a guy. You might wonder why when this film is hardly a bastion of realism half the time.

All the performances are great and Tess Harper, who got a Best Supporting Actress Academy Award nomination for the film truly does stand out as more of the thorn in the side of the characters a busybody, who is always opinionated and shockingly memorable. She is barely in the film. 

This film should be a great triumph with such dramatic actresses altogether on the big screen all at once such as Jessica Lang, Diane Keaton, and Sissy Spacek, and they all are given much to do and characterizations, but unfortunately, the film just doesn’t feel that big or special maybe that strength is that supposed to feel subtle. No, it doesn’t come off as satisfying, and by the end, it just feels like it just stops instead of having any real feeling of resolution.

Grade: C 

BABES (2024)

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Directed By: Pamela Adlon 

Written By: Ilana Glazer and Josh Rabinowitz 

Cinematography: Jeffrey Kim 

Editor: Elizabeth Merrick and Annie Eifright

Cast: Ilana Glazer, Michelle Buteau, Hassan Minhaj, John Carroll Lynch, Stephen James, Oliver Platt, Sandra Bernhard, Elena Ouspenskaia 

Lifelong friends Eden and Dawn, one single and wanting a baby, the other already a mother, navigate challenges to their bond when Eden pursues pregnancy alone after a one-night stand.

This film should have been a slam dunk but it seems like there are two forces working against each other throughout. Where on the one hand you have more raunchy comedy and outlandish moments. That is more par for the course when it comes to star Ilana Glazer. The film carries that sensibility. Which works but at times seems more shocking at times and somewhat truthful.

Yet the direction and tone of the movie fits director Pamela Adlon’s series BETTER THINGS. Which can be funny and humorous as well as truthful. It mixed in with a dark tone with sentimentality. Works half the time but then at other times seem to be battling each other.

The film does manage to entertain the audience and get them to care and even feel emotional in the third act. 

This film works better than Ilana Glazer’s last starring role FALSE POSITIVE. Here she is charming and slowly coming into her own. Though wish the film could be as hilarious as its trailer seemed. Though it seems to soften quickly. 

Michelle Buteau is solid, believable, and funny as always. 

The film isn’t bad. It will get you teary towards the end, and it really drives home there. Where it offers a look at motherhood and single motherhood. That would also feel like a bunch of downtown comedians got together and tried to make a film, though with more heart but plenty of comedy.

It would have been nice if we could have spent more time with the baby’s father and his fate was handled better, rather than just kind of a joke. 

While this might seem like a harsh review. I will admit that I am not the ideal audience for this film, but like many who will watch it. It does remind one of those special close friendships. 

Grade: C

WICKED LITTLE LETTERS (2023)

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Directed By: Thea Sharrock 

Written By: Jonny Sweet 

Cinematography: Ben Davis 

Editor: Melanie Ann Oliver 

Cast: Olivia Colman, Jessie Buckley, Anjana Vasan, Timothy Spall, Gemma Jones, Hugh Skinner, Alisha Weir, Malachi Kirby, Lolly Adefope, Eileen Atkins, Joanna Scanlan

When people in Littlehampton–including conservative local, Edith–begin receiving letters full of hilarious profanities, the rowdy, Irish migrant, Rose, is charged with the crime. Suspecting that something is amiss, the town’s women investigate.

This is the type of film that Sunday screenings were made for quirky comedies that are usually period pieces that are historical in nature. Though showcase modernization in its earliest stages.

unfortunately, this film seems to have gone straight to streaming with no theatrical release, which is a shame as it feels like there is no theatrical marketplace for films such as these, even though these are the ones that audiences more or less don’t know that they are searching for something simple, pleasing fun and artistically worthwhile 

Whereas this film definitely has two stars, Jesse Buckley, and Olivia Colman both noted award-winning actors, playing the lead roles and pretty much against each other, it becomes a comedy of errors in an ensemble effort, whereby the end your shock that this is actually based on a true story and real people.

everyone in the cast excels not that you would ever doubt any of them. Jesse Buckley and Olivia Coleman are both having fun playing somewhat familiar roles. The wildfire, free thinker, and the repressed rule follower 

The film is a darkly comedic tale that is laid-back and plays at first like a mystery and then like a Colombo episode as you wait to find out how the guilty will get caught and what will become of them while seeing the falsely accused having to suffer and they have to go through.

though through the comedy they found does shine a light on issues. Women had to face this at the time. Misogyny sexism, repression jealousy of one another. How some can live free with no repercussions and others feel trapped with no release.

The film is very diverse as it has people of color enrolled that you wouldn’t expect in most period pieces and there isn’t much made about their culture or casting involved. It’s just more natural that they are in society and hold positions of power. and did not be scandalized or the whole film be just about that

The film is a fun romp. That mostly goes for comedy but reveals the drama and conflicts involved. Most of all it’s funny and eventually kind of a buddy comedy. Though offers plenty of comfort for the audience. 

A film filled with personality that goes by but keeps you engaged and having fun with it as you wait to see where it’s going to go.

This is another great memorable performance from Jesse Buckley. who never quite gets the recognition or that star-making role that catches on and shows the world and audiences just how great she is

The film allows, two great acclaimed actresses to share the screen it’s truly an injustice, this film, was silently released onto streaming.

This isn’t a big story but a good period-set comedy of manners with dramatic impact at times it’s quietly hilarious. It’s full of jealousy as one character wishes she had the bravery and freedom of the other. Based on a true story.

This is actually a perfect Sunday film as it is relaxing and laid-back with a diverse cast where Race isn’t brought up even for its time. Just as the sexism of the time is fully examined by examples.

It showcases, The fragility and support of female friendships.

As we find out, the letters are an extension of a passive-aggressive psyche, and the reasoning that adds more scandal which grows as it goes along, so does the story and circumstances

The film is quite refreshing as you don’t quite expect it as it up the steaks, adding an investigation, angle, and suspense.

Showcasing actions, no matter how minor have consequences. As well as adventure, characters, and observation with arcs joining along some reluctantly do away with the mystery element rather quickly..

The camera is solid yet moves along quickly at times with perfect timing 

Grade: B

SNACK SHACK (2024)

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Written & Directed By: Adam Rehmeier

Cinematography: Jean-Philippe Bernier

Editor: Justin Krohn

Cast: Conor Sherry, Gabriel LaBelle, Mika Abdalla, Nick Robinson, David Costabile, Gillian Vigman, June Gentry, April Clark 

Nebraska City, 1991, two best friends get the chance to run the swimming pool snack shack, that later comes to be the perfect scenario for transgression, fun, personal discovery, and romance.

This film was kind of a quiet victory as it slowly rolled out and released a lot of people praised this film so I took my time before watching it and I have to say it’s heartwarming and a good film.

Even though it’s familiar, it doesn’t talk down to its audience and while being rebellious it still feels a bit suburban where it feels perfect for teens, even though set in 1991 as it gives them respect and hints of a little bit of nostalgia for the audience watching it.

Casting Nick Robinson in this film was a mini-stroke of genius for audience members who remember him starring in another coming-of-age summer film called KINGS OF SUMMER here it feels like he is passing the torch to the actors here.

This film has mostly what you would expect a romantic triangle and a love story best friends who might be growing apart, rebellious against strict parents who mean the best for their children, but also seem like strict disciplinarians for no reason smoking, drinking gambling, and scoring 

Though I do applaud the characters for being so financial and business-minded at such an early age and being go-getters, but also go a little wild, not only for the profits but even the ideas.

The film and the characters have a certain charm that carries the film to the finish line and goes over the audience. It seems a little more random even though you know that they’ll probably come the way in which they are handled seems a bit looser.

The film isn’t as plot-structured.  as a lot of these summer coming-of-age films usually are and there’s no real villain or deadline or person that they’re fighting against. It’s just the lazy hazy days of summer where one day everything seems to be normal and slow and then the next day full of excitement, then something shattering the next. There doesn’t seem to be an ultimate plan.

Though the film has many female characters, there’s only one female man, and it would’ve been nice if maybe there were some others to provide either commentary support or temptation, even if the main female is quite fetching so that you can understand why the boys are quite head over heels for her. Luckily they give her enough personality to be a character who could stand on her though rarely give her a chance played by the impressive Mika Abdalla.

It took me quite a while to recognize Gabriel LaBelle as the character of Mike. He played in another coming-of-age film MEET THE FABELMANS starring as a younger version of Steven Spielberg who directed the film. So once again he is in another coming-of-age story as one of the leads. Quite impressive and strong character. 

What is also impressive is that the film is written and directed by Adam Rehmeier, whose previous films have been riskier and, shockingly, he goes here for more of a family film vibe that while it has its vices never out of place or even racy. It’s nice to see his range as this is an enjoyable independent film just as his previous film KIDS IN AMERICA was enjoyable but a lot more hard-core and punk rock and its rebellion.

Won’t say believe the hype that it is a sweet surprise of the easy-going nostalgic coming-of-age cinema. 

Grade: B

BOILING POINT (2021)

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Directed By: Philip Barantini 

Written By: Philip Barantini and James Cummings 

Cinematography: Matthew Lewis 

Editor: Alex Fountain 

Cast: Stephen Graham, Jason Flemyng, Vinette Robinson, Alice Feetham, Ray Panthaki, Hannah Walters, Lauren Ajufo, Malachi Kirby, Taz Skylar, Izuka Hoyle

Enter the relentless pressure of a restaurant kitchen as a head chef wrangles his team on the busiest day of the year.

Some people might compare this film to the television show THE BEAR even though this film came out first. it does have the intensity of that show’s pilot and its most agonizing episodes. With a head chef, dealing with all the calamities and kitchen crew not to mention his personal problems. 

Interestingly, The film did have a four-episode television spinoff that, I have not watched, but seems to be the story. For this review, one will stick to the film and its perimeters.

Though this film isn’t as comedic, is its own animal and maintains its own identity, dealing with all the different pressures in one evening. The staff’s constant interaction with one another, and also shows more interaction with the customers and their individual and seemingly difficult demands at times.

This film is made to look like it takes place all in one continuous shot or one take. The film is a little more detailed and showcases its construction. As well as the meals construction.

We see how the kitchen must run like a well-oiled machine, so must the film and direction. it’s also revelatory that not all the crew are doing what’s best for the team some can be downright selfish and more self-serving. Especially in one scene where the bellboy takes a trip outside and it allows for the film to take us out of the chaos for a bit of a cleanser. As we see the nefarious dealings.

It’s those moments where we can have a bit of the character’s own drama while dealing with the main narrative that makes it successful and helps steer the ship. As in the slow burn, everything comes to a head. 

Showcase is being part of a team that you were only as strong as your worst worker. The continuous pressure is felt throughout.

As well as giving a voice and allowing the audience to witness the hardships of the workers, the hardships of the service hospitality, industry, and the abuse faced by them from customers and other staff when it’s coming from both ends, where are you supposed to find your peace.

The film offers no real resolutions to some problems, though it does reveal quite a bit or hints at things that can cause frustration. Though, we are only here for one evening so it’s not that type of film where everything will be tied up by the end. It offers many surprises.

The film is like a thriller so much suspense and reserved intensity yet it stays action-packed to a degree. So that it’s identifiable and just as frustrating as real life at times.

Stephen Graham scores another great damaged character holding on by a thread who seems to have a calm demeanor, but seems to be crashing underneath. He gives a great memorable performance at the center and knocks it out of the park seeming like he can do no wrong in a role, but this is an ensemble effort. He stands out as much as the rest of the cast. Which is the film’s definition.

What is so powerful about the film is that the audience’s opinion might constantly change about certain characters as the reveals and connections happen. So by the end of the film is a roller coaster hitting rock bottom. There are so many highs or maintenance levels. Either way, it’s all well executed.

Meticulous. Beautifully crafted and constructed Like a well-crafted meal with a strong aftertaste. Which is what makes it all the better, Loved it. 

Read about it when it came out. Unfortunately put it on the back burner and finally got around to watching it… in amazement. 

Also shoutout to Lauryn Ajufo whose character is so punished throughout and eventually gets a moment of manners. Really felt for her the most throughout mostly 

This is a film that needs to be discovered and more people need to see this.

Grade: A 

FULL TIME (2021)

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Written & Directed By: Eric Gravel

Cinematography: Victor Seguin

Editor: Mathilde Van De Moortel

Cast: Laura Calamy, Anne Suarez, Genevive Mnich, Nolan Arizmendi, Sasha Lamaitre Cremaschi, Cyril Guei, Lucie Gallo, Agathe Dronne, Mathilde Weil, Dana Fiaque 

Just when Julie finally gets an interview for a job that will let her raise her children better, she runs into a national transportation strike.

This film seems to have the mentality that when it rains it pours.

It seems the first to be such a simple film. You know a single mother trying to do better for her kids and her life by trying to get a better job you know pays more maybe a little closer to home better hours. 

Then it turns it into a thrill a minute story of tension as she has to deal with bringing the kids to this babysitter, then trying to get to work on time where you know either trains are off schedule or late or you know the workers are having a strike, and She has to take a different route or find a totally different way to go to work 

Even you know, kind of flirting with someone who she’s not necessarily really attracted to, but she knows it suite on her just so she can get a ride and then shockingly him rebuffing her. so that even her sideline romance seems to fail in the middle of all her other hardships you rule for her throughout, but feel the loss.

And then not only that struggling to get to work late with her supervisor notices and penalizing her for but then also trying to get back home on time to pick up her kids on time you know it’s not quite run Lola run or that was it character dealing with all these different fates and felt kind of mystical this is just hard-core reality.

Justice things seem to go positive for this character they always seem to be a curveball throw as we watch in the way that she has to maneuver for survival as she faces one challenge or dilemma at a time, and usually after another close together.

It’s a portrait of one single mother that speaks for a number of them out there as they try to do their best for themselves, and most importantly, their families, and the seemingly increasing levels of difficulty and challenges they must face it seems even just to break even.

Her ex seems to disappear, avoid, and take no responsibility or offer solutions. You admire her to a degree, and the film teaches. You have to take it day by day moment by moment, each one seems to be worse and truly a horror film of its own.

Thank you to John Waters, whose list of 2023‘s best movies listed this film as one of them, or else I probably never would’ve heard of it, or probably not for some as the film is exhilarating and exemplary 

Grade: A

WORKING GIRLS (1986)

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Directed & Edited By: Lizzie Borden

Written By: Lizzie Borden and Sandra Kay 

Cinematography: Judy Irola

Cast: Lousie Smith, Deborah Banks, Liz Caldwell, Marusia Zach, Amanda Goodwin, Boomer Tibs, Richard Davidson, Ronald Willoughby 

A lesbian college graduate, trying to bankroll her own photography business, works as a high-priced New York City escort.

This film presents a day in the life of hookers at an uptown, brothel escort service, where we see the ins and outs of the service the various customers who come by as well as the different types of girls working there.  

We mainly follow the character of Molly, who is more or less the lead here played by Louise Smith,  as we see her waking up, traveling to the job, getting ready, and thrust into working as well as the responsibilities during the downtime.

We see some of the sessions, the sweetness of some customers, the nastiness of others, and even the strange requests

The relationship between the coworkers and different personalities and types provide an overall character study that can be fun at times as well as sad and shocking. It never feels off for any kind of dramatic reasons or tension so it stays truthful in its depiction and never quite sensationalizes.

The film is in an epic and never feels exploitative It stays quite dramatic and humanistic. Never offer an opinion on any of the characters or the profession.

It’s more of a female look at the profession full of truth and camaraderie, in this high-class brothel.

The film takes place mostly in a single location for most of the film, though it does explore a little not much. It feels like a play for the revolving door of characters and the conversations.

Each session can be a turning point in the film or add some new dramatic intrigue, maybe even a comic premise, but it stays on the level.

There are many stories that could have happened here, but only a few are truly explored as that is the life or the job plenty of fantasies, but in the end, staying themselves and not allowing themselves to get lost. As in their rules as prostitutes, there’s plenty of acting, but never any true lying.

There are no defining traumatic moments until the end. When that happens, it’s not as strong as one would expect. It stays a workplace drama.

We see how the mail customers say the same thing thinking they are different or special, which is why they care for fantasy and to either have control or lose their own to a degree.

The film is based on actual clients witnessed and told about to the filmmaker and the cast. it’s an early eight 1980s independent film with a low budget that was filmed in the director’s apartment in a week, through plenty of rehearsal, which also leans more towards its theatrical feeling and pacing. the film manages to say so much it ends up being more of an observant look for the audience to witness and make their own assumptions

The film ends with an ironic statement

GRADE: B+