Toronto, 2001. Three women in spiritual crisis. In secret from her dismissive husband, Olivia draws what she sees in dreams. Catherine, a world-class cellist, has abandoned her husband and daughter to hunt down her father. Photojournalist Natalia, in her famous father's footsteps, scores her first Time Magazine cover, but realizes she has paid an incalculable price for the photo. Olivia has another secret besides her art; Catherine makes discoveries about her father; Natalia receives a gift that's undeserved: these complications push each woman in a new and unexpected direction. Written by
When Natalia gets her "contact sheets" she views them on a lightbox. The contact sheets are positive proofs printed on paper. A lightbox, used for viewing negatives or transparencies, would be useless with a print. See more »
This movie was better than expected, well acted and the little dramas were sincere. It's got Deborah Kara Unger AND Mira Sorvino plus many other high caliber actors in small parts. But there's some negatives that keep it from greatness.
The 3 vandals were too disturbing for this kind of film and made me want to twist their necks. No such justice in the movie.
The connection between the three female leads is too far fetched and virtually non-existent. The ending does not make any sense, why are these 3 women waiting at the same table at the airport, they all have different destinations. The little girl makes no sense other than being a poorly constructed plot device to link the three women. Unnecessary too because this story already has a link between them: they're on a crossroad between the past and the present, up to something new in their life.
Also, the photographer accidentally meeting with an Angolian, as was mentioned here before, is WAY too coincidental.
It seems that this kind of storytelling has become popular with Short Cuts and Magnolia, of which the first is by far the best.
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