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Getting to Know You (1999)

7.0
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Ratings: 7.0/10 from 379 users  
Reviews: 12 user | 11 critic

A chance encounter alters a teenage girl's perception of herself and her outlook on life.

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(stories), (screenplay), 1 more credit »
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Cast

Cast overview, first billed only:
...
Judith
...
Wesley
...
Dr. Clarke
...
Large Woman
Craig Anthony Grant ...
Ticket Clerk
...
Jimmy
Richard Bright ...
Elderly Man
...
Bottle Lady
...
Trix
...
Darrell
...
Officer Caminetto
...
Jimmy's Father
Tristine Skyler ...
Irene
...
Lynn
Richard Alliger ...
Blackjack Skeptic (as Rich T. Alliger)
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Storyline

Two teens tell stories about their lives while waiting at a bus stop. Judith and her brother have suffered a nomadic existence with their semi-professional ballroom dancing parents, who are now past their prime. Jimmy tells two tales. One about two women who meet up with a high-roller in Atlantic City. The second is about an infertile woman's marriage to a religious fanatic. The three stories are told in anthology style. Meanwhile, bus station denizens wander in and out. Chief among these are a bag lady and a fat cop. Written by John Sacksteder <jsackste@bellsouth.net>

Plot Summary | Add Synopsis

Plot Keywords:

independent film

Genres:

Comedy | Drama

Certificate:

Unrated
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Details

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Language:

|

Release Date:

17 September 1999 (Italy)  »

Also Known As:

Getting to Know All About You  »

Filming Locations:


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Trivia

The movie Dreamland, also directed by Lisanne Skyler, appears on a cinema marquee. See more »

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User Reviews

 
quality film never found its legs
22 November 2010 | by (United States) – See all my reviews

Scrape together a few thousand dollars, call in a few personal favors, enlist your friends and family to work nights and weekends, and the result might be a movie like this: too small and personal for widespread theatrical release, but ideal for any discriminating cable TV network devoted to showcasing true independent cinema.

The film is set (for the most part) in an upstate New York small town bus station, where every glancing encounter has a story behind it. Private narratives of this sort are what define us to ourselves, and because the screenplay was adapted from the writings of Joyce Carol Oates these particular stories describe a series of downbeat, dysfunctional family dramas.

At some point in its evolution the project might have been intended as a stage play, with the wordy, meaningful script and one-act location (opened up by flashbacks and speculative digressions into the overheard lives of passing strangers) suggesting a small theater piece. Sympathetic characters, natural performances, and a welcome lack of hyperbolic direction make it a quietly devastating experience, but with at least a token glimmer of hope in the final scene to help relieve the often oppressive details. Michael Brook's delicate guitar études add just the right touch of atmosphere.


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