Story of the same couple, first in their teenage years and then in their twilight years, paradoxically set in the same time during the backdrop of the Gulf War in the Middle East.

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Cast

Cast overview, first billed only:
...
Beatty 'Beatrice'
...
Henry
Sean McCann ...
Hank
...
Myra
...
Bea
Kelci Stephenson ...
Young 'Beatrice' Beatty
Rob Patterson ...
Pharmacist
Jennifer Villaverde ...
Checkout Girl
Susie Yamamota ...
Beatice's Friend
Tracey McCorrister ...
Pearl
...
Myrah
Rob Stefaniuk ...
Stanley
...
Henry's Mother
Tom Anniko ...
Henry's Father
Victor Cowie ...
Stan
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Storyline

Set in Sarnia, Ontario in 1991, teenage Beatrice is a cashier at a supermarket. One night while waiting in line at a drugstore, she notices a large lump on the back of the bald head of a boy her own age. Intrigued, she follows him and he eventually and reluctantly introduces himself as Henry, explaining the lump is a malignant tumor causing his rare form of cancer. They fall in love, their passion intensified by Henry's impending surgery and the strong possibility of his death. Meanwhile, Bea and Hank have been married for 40 years with two adult children and live for the sole purpose of hurting each other. Their love burned out long ago; they're bored, bitter, depressed, and argue constantly. With nothing left but routine and resentment, Hank decides to buy a retirement home without consulting Bea, and she gets back at him by incurring financially ruinous construction and decorating expenses. Both couples are one and the same, at the beginning and end of their relationship, ... Written by pr1mal_1

Plot Summary | Add Synopsis

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Drama

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Release Date:

21 April 2001 (USA)  »

Also Known As:

Uma Chance Para o Amor  »

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Box Office

Budget:

CAD 2,200,000 (estimated)
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Company Credits

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User Reviews

Moving yet frustrating; resonates long after you finish watching it.
18 January 2004 | by (BC CANADA) – See all my reviews

I bought this film on a whim because it was cheap and looked interesting; what I got was a moving story about the repetitious nature of romantic commitment. Greyson draws many resonating parallels between the older and younger incarnations of the couple, demonstrating that some dynamics never really change, especially in smaller, economically resource or industrial based towns. This is not to say that there is nothing progressive about the film; on the contrary, the narrative structure of this film is very complex, and the careful juxtaposition of ideas and images reveals a lot about the reassuring nature of companionship, even of the most frustrating kind.


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