From a bland tract house on the outskirts of Los Angeles, Simon Geist (with occasional help from his platonic girlfriend Darla) wages war against all of modern American popular culture. ... See full summary »
A young man discovers a mysterious mirror and begins to have disturbing visions of forbidden passion and brutal murder. But when he also finds a beautiful woman back from the dead and a ... See full summary »
When two college students, Sam and Thea, meet Coles at a party, their mutual attraction is immediate, leading to a passionate and awkward night together, and the onset of an intensely charged bond. As they continue to push the sexual boundaries of their friendship, however, they are tested by Sam and Coles' incipient romance and Thea's increasing recklessness, until the relationship dissolves amid a cloud of fear, resentment and mistrust. Eight years later they reunite. An animator for a high-profile ad agency, Coles now lives with Claire, his girlfriend of five years. Thea is happily married to Miles, with whom she owns a flourishing restaurant. And Sam has just returned to Manhattan after working in London where she recently broke off her engagement. Yet upon reconnecting, the three are drawn back into the complicated dynamic that defined their relationship from the start and are forced to confront the true meaning of commitment and love. Written by
Sujit R. Varma
Love Lies Bleeding
Written by Rupert Keiller and Adrian Cartwright
Performed by Sonicanimation
Licensed courtesy Global Recordings Pty Ltd.
Published by Festival Music Publishing, Australia ASCAP See more »
From many comments about this film and the similar Closer, one would think all the characters were reckless libertine hedonists. They're not, they're unsuccessful serial monogamists like most of us in the modern western world. This one doesn't have the Oscar Wilde/Noel Coward wit or shocking vulgarity of Closer, but it does have amazing true-to-life performances, especially from Petra Wright (who has an aristocratic beauty similar to Mimi Rogers in Someone to Watch Over Me), Kathleen Robertson, who previously had a field day as an innocent bigamist in Gregg Araki's Splendor, Maya Strange (not Strange), who displays a vulnerability much like Natasha Gregson Wagner in some other independent films (what happened to her?). And of course Mark Ruffalo, an undecided everyman for our times, like the dog in Aesop who loses his bone because he thinks he sees a better one. And as someone remarked, this is definitely Eric Rohmer territory. Excellent writing, cinematography, and use of music, and not one redundant line or wasted shot.
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