Eunice is walking along the highways of northern England from one filling station to another. She is searching for Judith, the woman, she says to be in love with. It's bad luck for the ... See full summary »

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Cast overview, first billed only:
Des McAleer ...
Eric McDermott
Lisa Riley ...
Freda Dowie ...
Paula Tilbrook ...
Fine Time Fontayne ...
Elizabeth McGrath ...
Joanne Cook ...
Shirley Vaughan ...
Paul Bown ...
Emily Aston ...
Katy Murphy ...


Eunice is walking along the highways of northern England from one filling station to another. She is searching for Judith, the woman, she says to be in love with. It's bad luck for the women at the cash desk not to be Judith, because Eunice is eccentric, angry and extreme dangerous. One day she meets Miriam, hard of hearing and a little ingenuous, who feels sympathy for Eunice and takes her home. Miriam is very impressed by Eunice's fierceness and willfulness and follows her on the search for Judith. Shocked by Eunice's cruelty she tries to make her a better person, but she looses ground herself. Written by Robert Stroetgen <>

Plot Summary | Add Synopsis


A story of love and redemption.


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Release Date:

26 April 1996 (USA)  »

Also Known As:

Killer on the Road  »

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Aspect Ratio:

1.85 : 1
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Did You Know?


Eunice: Think you'll make me good? I'll make you evil before you make me good.
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Referenced in Rich Hall's Continental Drifters (2011) See more »


World In Motion
Performed by New Order
Words and Music by Stephen Morris, Peter Hook, Gillian Gilbert,
Bernard Sumner, Keith Allen
Copyright Gainwest Ltd. by kind permission of Warner Chappell Music Ltd./EMI Music Publishing Ltd.
Recording courtesy of PolyGram Record Operations Ltd.
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User Reviews

Controversial art in the love OR hate genre.
30 August 2002 | by (nz) – See all my reviews

If you generally don't like murder films you'll hate this movie, never mind the fact that it's actually very good. Very little heed (if any) is paid to the numerous victims, their bodies falling to the side of the storyline as the obsessed female lovers move on, taking the plot with them. Butterfly Kiss introduces two startlingly distinctive, unique women, opposites drawn together by loneliness and a need for balance. Eunice is a dispairing, tortured soul who searches the bland, grey motorways of England for the ever-absent Judith (does this abstract individual really exist or is she another figment of Eunice's amazingly complex and unstable psyche?). People who turn out not to be Judith tend to end up the victim of Eu's homocidal wrath (note though that Judiths importance to Eu was going to end up in mortal sacrifice also). Eunice has no inhibitions, no scruples; her behaviour is repulsive, obnoxious, sexually promiscuous, extravagantly moody. She acts purely on impulse and instinct, rarely using her devastated mind, for Eunice actually wants to be caught, and wants to be punished. In fact, she consistantly pushes her luck in aggravating people, beleiving God (and I guess the rest of the world) has forgotten her. Consequently she is forced to punish herself, wrapping her scrawny body in chains that hurt and bruise her. It is quite possible that a lot of her other actions throughout the film, which are illogical and cruel up front, are more attempts by Eu at self-punishment though that is left for the audience to mull over. Miriam, by contrast, is water to Eu's fire, a metaphor even she explains in her black and white interveiws dotted throughout the film, as she tells their story to a camera. Miriam at first looks to be dim, naive, childish and ineloquent in her speech. Reading between the lines this version of Mi fails to convince, instead giving the image of perceptive, open-minded in the extreme, generous and angelicly kind. Whether this was supposed to be Mi or was Saskia Reeves' true intelligence mistakenly worming its way to the surface is unknown, and it doesnt really matter -the character was nontheless, adorable. As lonely and love-starved as Eunice, their similarities end there. Mi is totally honest and forthcoming; her love for Eunice is complete and unconditional. Along with being painfully direct, Eunice is also implicitly dishonest. When Miriam discovers Eu's homocidal nature she is already in love. She disposes of the body without encouragment from Eu and sets out to support Eu and make her a better person. Rather she becomes a murderer herself, though through more subtle indications she retains all the original beauty and kindness of her placid personality. People who may dislike this movie are being subjectively incorrect in saying that it isn't good. Truly it is not a pleasant film to watch but it is still a worthwhile peice of artistry riddled with talent.

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