In a series of flashbacks and confessional conversations with her prison guard, Regina seeks to understand her life in her final hours on death row before she is sent to the electric chair ... See full summary »

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Cast

Complete credited cast:
...
Regina
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Colin
...
James
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Howard
...
Tina
...
Ellen
...
Doctor
Adrienne Regard ...
Attorney
Alain Ohanian ...
Daniel
Ina Parker ...
Haircutter
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Storyline

In a series of flashbacks and confessional conversations with her prison guard, Regina seeks to understand her life in her final hours on death row before she is sent to the electric chair for the murder of her husband. A psychological drama about the nature of guilt. As she tells her story, we witness more than one version of the murder. Was it poison, a gun shot, or an accident? Did she intend to murder him, or only stumble on it? This film requires the audience to consider the meaning of remorse, and love. Written by Adrienne Regard <regard@hpsdde.sdd.hp.com>

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Genres:

Crime | Drama | Thriller

Certificate:

R
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Release Date:

30 June 1995 (USA)  »

Also Known As:

Reflections of a Crime  »

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Dessert Nocturne
Written & Performed by Ferris Ellen Gluck
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User Reviews

 
Bizarre but interesting drama
11 April 2000 | by (Spokane, WA) – See all my reviews

Mimi Rogers stars as a woman awaiting her execution for the murder of her husband. She expects to spend her final hours in quiet solitude, but is surprised to be spending them in the company of Colin (Billy Zane), her guard on the last day, a man who volunteered for the duty because he is fascinated by her and wants to know the truth about her: whether she really killed her husband, and if so, why? This is definitely not a conventional hollywood movie, which is probably why good actors like Rogers and Zane were attracted to it. There isn't any phony 11th hour revelation or happy ending. What this movie does offer is a bizarre but intriguing look into two very strange relationships: first, the relationship between Rogers and her husband, who seemed obsessed with his own possible death at her hands, and we see her pretend (or maybe not pretend) to commit the act so many times that it seems as though when she finally did murder him it was nothing more than a pure formality. Then, there is the second relationship, between this woman preparing for her own end and the man who wants her to tell him how she arrived at it. She doesn't know exactly what he wants, or what to tell him, and maybe he doesn't really know what he wants either. The movie is the same way: its message is uncertain, but it tells it's story with a sure hand, anchored by two powerhouse leading performances. The result is an intriguing final product: not a great film, not a clear one, and not one you will soon forget.


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