This all-woman production is set in provincial France in the early 1930's. Two young, country sisters enter domestic service in the bourgeois household of a penurious widow and her homely ... See full summary »
In Lille, two penniless young women with few prospects become friends. Isa moves in with Marie, who's flat-sitting for a mother and child in hospital in comas following a car crash. Isa is ... See full summary »
Dresses, lipsticks, sex - the "perversions" (and neuroses) of Eve, a young, very successful lawyer. Her days are a tightrope act between extreme eloquence and frosty toughness on the one side, and scaring vulnerability on the other. The climax of her career shall be the possibly forthcoming appointment as a judge, but this step seems to be interrupted by her kleptomaniac sister Mad who is arrested after one of her raids. Eve travels to Mad's town to stand by her in the jail. Their struggle about Mad's illness evokes suppressed conflicts. Eve stays at her sister's flat where she meets a girl who fights with her budding femininity. Written by
Frank Wallner <firstname.lastname@example.org>
The boom mic visible in different parts of the movie. In one scene where Maddie is thinking about the past looking at the photograph, and in a second scene at the bathroom where Eve and Maddie take a bath together. See more »
I need you desperately.
Let's see... uh, we met in an elevator, right? We had two drinks, went back to my place and had great sex. You had five orgasms, I only had three. And now you are so desperate to see me?
Very desperate... doctor.
Well uh... I'm sorry what was your last name?
Miss Stevens, right. In my professional opinion, you are a deeply compulsive, highly neurotic, extremely co-dependent woman who more then likely loves too much... or too little. I can't...
[...] See more »
Fire in the Mist (Annunciata's Dance)
Written and Performed by Johnny Reno
Published by Reno Beat Music/Justice Artists Music Corp. (BMI) See more »
Tilda Swinton chooses films that at first may strike the viewer as facile in their willingness to experiment with the role of the actor. Consider the title character dully staring directly out from the frame for much of 'Orlando'. I myself felt much initial impatience there, but after some time passed I could see a larger context. (See the classic Laura Mulvey article.) 'Female Perversions' might be guilty of cutesy irony or even some bathos, but its heart is solid gold. Women leaving the film after viewing it in Seattle circled around the U District, running into each other again & again, unwilling to leave the residue of truth-telling that remained as long as we let it, it seemed. Do females need sympathizers such as Flaubert surely was? We can probably get along without them but it's nice to have a friend on the other side of the gender construct. FP is a little funny, a little sad, one version of the real (and therefore legit). It might make us squirm in its sincerity. Can you handle it?
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