A story of amour fou. Walt is madly in love/lust with a young illegal Mexican immigrant. However, the object of his unrequited affection doesn't even speak any English and finds Walt really... See full summary »
Iris can best be described as a wallflower. She begins her first day as a temp for the nondescript Global Credit Association by waiting in a chair for two hours. This sets the scene for her... 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 mousy librarian inherits her father's beloved but failing old movie house. In order to save the family business she discovers her inner serial killer - and a legion of rabid gore fans - ... See full summary »
Claude and Ellen are best friends who live in a not-so-nice area of New York. They're involved in the subculture of 90s youth, complete with drugs, live music, and homophobia. All is ... See full summary »
It's no coincidence that an early scene in Gregg Araki's no-budget drama is set beneath a conspicuous, neon-lit lottery billboard. The fledgling writer director redefined the concept of independent filmmaking by finishing his debut feature at a total cost of only $5,000. The title is almost comically precise: each of Araki's three characters is bored, restless, lonely, and more than a little confused, and the grittiness of the underlit photography (filmed entirely after-hours) lends a claustrophobic pall to the already self-absorbed gloominess of the scenario, a relatively conventional coming-out drama with a difference. The tension of attraction between Mark (who is gay) and Craig (who isn't) is complicated by the affection both share with Alicia. Araki handles each relationship with surprising care, although his script leans hard on existential art school angst, making the characters sound too whiny and petulant at times. It doesn't take long to become acclimated to the poor (post-dubbed) sound and natural (dark) lighting, but the effort needs to be put into perspective: for the average cost in 1987 of a typical Hollywood blockbuster, Araki could have made...yes: 10,000 feature-length films!
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