A young woman escapes from a mental hospital during the chaos of a nearby multiple-car accident. She is mistaken for a shock victim and is driven to her sister's house by a rescue volunteer... See full summary »
An orange Chevrolet Impala drives across a cemetery towards an abandoned shipwreck in the middle of a desert landscape. It is the 22nd of January, 1965. The day before, the Iranian prime ... See full summary »
A black-and-white love letter to pre-gentrification New York City, Phil Hartman's NO PICNIC captures a remote time and place - the East Village circa 1985, a vibrant, seedy neighborhood ... See full summary »
At night, baby-face Laura dresses up as a vamp and lets random guys at bars pick her up, just to drug and rob them later. But then someone starts stalking her, and a person close to her is ... See full summary »
As Michael and Robert, a gay couple in New York, prepare for Robert's departure for a two-year work assignment in Africa, Michael must face Robert's true motives for leaving while dealing ... See full summary »
A film noirish atmosphere is created to show detective Lunch (a popular underground musician and poet) plow her way through the plans of a corporate businessman who seeks government defense... See full summary »
I doubt Sara Driver's SLEEPWALK needs to go begging for favorable reviews, and I don't imagine many people who have seen, or who may be tempted to see, the film would bother looking up what the peanut gallery here at IMDb makes of it, but since there is currently only a single review here, and a negative one, I thought I should point out that SLEEPWALK is a beautiful, atmospheric film, in the rich minority tradition of the low-budget American cinema of uncanny mystery and poetry, imaginatively directed, gorgeously photographed, witty and clever, with immaculate performances by Suzanne Fletcher and the great Ann Magnuson. The big mystery surrounding the heroine's translation assignment never fully becomes clear, which I can imagine would be frustrating for some, but the film is not meant to work on a straight plot level, and viewers have to be willing to let go and just go with it, in a pure visual poetry way.
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