A young filmmaker in 1960s Paris juggles directing a cheesy sci-fi debacle, directing his own personal art film, coping with his crumbling relationship with his girlfriend, and a new-found infatuation with the sci-fi film's starlet.
The third film in a trilogy by writer-director Gregg Araki. Described as "90210 on acid", the film tells the story of a day in the lives of a group of high school kids Los Angeles and the strange lives they lead.
With only the plan of moving in together after high school, two unusually devious friends seek direction in life. As a mere gag, they respond to a man's newspaper ad for a date, only to find it will greatly complicate their lives.
A husband-and-wife team play detective, but not in the traditional sense. Instead, the happy duo helps others solve their existential issues, the kind that keep you up at night, wondering what it all means.
Based on the true childhood experiences of Noah Baumbach and his brother, The Squid and the Whale tells the touching story of two young boys dealing with their parents' divorce in Brooklyn in the 1980s.
Paris, 1969. The filming of a sci-fi movie set in the distant year 2000 is in trouble. The director's obsession with the actress who plays the sexy secret agent Dragonfly has clouded his judgment and the film has no ending. A young American, in Paris to document his life on film with total honesty, is brought in to finish the movie with a bang. This proves to be difficult when the line between his fantasy life and reality becomes blurred, and he finds himself seduced by the charms of Dragonfly. Written by
Sofia Coppola may have got all the kudos with The Virgin Suicides and Lost in Translation, but, from a 60s movie buff's point of view, the other Coppola kid, Roman, turned out an even more enjoyable feature, CQ. Shame that no-one saw it. Barely released in the US (and not released at all in most countries), it's an engaging little number that pits underground cinema against Eurotrash movie-making at a time when people still thought even pulp cinema could be the stuff of revolution (1969-70 to be precise).
A riff on Sullivan's Travels and 8½, it sees Jeremy Davies' editor of Franco-Italian co-pro 'Codename: Dragonfly' struggling to come up with a new ending while making his own personal film with borrowed equipment. Oh, and falling in love with the fictional main character, confusing film and reality (not only is he too busy documenting 'the truth' of his life to see it around him but he even enters the film to sort out a plot hole) and possibly being targeted for retribution by Gerard Depardieu's fired firebrand director. (The door panel that Depardieu breaks that is later framed and given to the editors is actually one that Francis Ford Coppola smashed on one of his films!) Filled with sly 60s cinema references from Fellini to Warhol (even the trailer he cuts for the film is inspired by the one for Dr Strangelove) and with some character touches straight out of James Joyce, the visual influence is much more Danger: Diabolik than Barbarella (John Phillip Law even appears in the film within the film), and Dean Tavoularis' spot-on production design and Robert Yeoman's superb photography are both pitch-perfect. Davies, so irritating in Soderbergh's disastrous Solaris, is quietly fine here, Jason Schwartzman has fun as a bizarre hybrid of a young papa Coppola mixed with Roger Corman via Austin Powers, Giancarlo Giannini does Dino De Laurentiis to a tee (with Sofia Coppola cameoing as his mistress), and there's good work from Dean Stockwell and Massimo Ghini as well. At the end of the day there's not much there, but Coppola's love of movie-making makes it surprisingly joyful to watch if you're in a receptive mood.
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