Wisconsin farm girl Elizabeth Carlson leaves family and her English teacher lover behind, and escapes to New York City. There she soon makes a career for herself as a fashion model. During ...
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Two girls, Carla and Lou meet on the street outside a loft waiting for their boyfriends. In a short time, they find out that they're waiting for the same guy - young actor Blake, who said ... See full summary »
Robert Downey Jr.,
Natasha Gregson Wagner
Successful actress Vera Lockman thrashes during a nightmare in which she struggles with, shoots and kills her drug-dealer ex-boyfriend. Jolted awake, she reveals in her journal that the ... See full summary »
Wisconsin farm girl Elizabeth Carlson leaves family and her English teacher lover behind, and escapes to New York City. There she soon makes a career for herself as a fashion model. During a private viewing of paintings, she's approached by a mysterious man whose motives are unclear. Written by
Michel Hafner <email@example.com>
Directet James Toback, the movie's director, once said of this film: "Exposed (1983) is an especially significant title for a story that moves through different circuits of revelation. Elizabeth [Nastassja Kinski] learns about herself, and about the breadth of her capacities, which turn out to be wildly beyond her initial awareness, through a series of increasingly shocking events. But it is also a romance about the fatal attraction a charming, talented, and obsessed musician has for the girl". See more »
Near the end of the film, Kinski quickly gets out of a taxi and tries to run around in front of it. She slips and goes sprawling in the road in front of the taxi.
Then the girl following her in another car gets out of that car which starts to roll forwards. She has to get back in and put on the handbrake. See more »
If you don't betray me you'll find a way to join me. And I'll take you back.
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The early 80's seemed to be a ripe time for espionage-themed films and, taken as a whole, is probably somewhere in the middle in terms of quality (goodness knows there were worse!). However, what makes it worth seeing are two things: its European locales (all in monochromatic greys and browns) and, first and foremost, the astonishing and eye-achingly beautiful Kinski, in what may well be her ripest, fiercest, most raw performance captured on film. What surrounds her, unfortunately, is either standard or downright embarassing: wooden supporting performances (particularly Nureyev, who looks singularly uneasy and clodding, ironic for someone who spent a lifetime being praised for his graceful moves), an often senseless plot, and direction that veers from shameful to confused, none of which is helped by sometimes-spastic editing. And yet...there is Kinski, breathing life into this dull affair in spite of itself, wiping everyone else from the screen and the audience's eyes and minds. Here, she is a force to be reckoned with, radiating an intriguing blend of natural awkwardness and just-enough confidence: in essence, she is 100% REAL. There isn't a single false moment delivered by her, as a young woman who falls into the world of both modeling and espionage, giving the film as a whole the unmistakable air of 'what-could-have-been'. If this movie had a tenth of what she provides, it would still rate, despite being dated, as a modern-day classic. As it is, it IS, whatever its many, many flaws, worth seeing (for it's often-silly early-80's fashions, as a time machine, those aforementioned locales) but she is the main reason why. She is brilliant.
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