In New York City's Harlem circa 1987, an overweight, abused, illiterate teen who is pregnant with her second child is invited to enroll in an alternative school in hopes that her life can head in a new direction.
The dysfunctional twenty-three years old Sarah takes her six year old natural son Jeremiah from the home of his beloved foster parents with the support of the social service to live with her. Along the years, the boy shares her insane and lowlife style and is introduced to booze and drugs and mentally, physically and sexually abused by Sarah, her lovers and her religiously fanatic family. Written by
Claudio Carvalho, Rio de Janeiro, Brazil
Before Sarah's strip scene, she is outside the club with two other women. One of the women is Cole and Dylan Sprouse's mother. See more »
When Chester stumbles out of the meth lab after the explosion, he is obviously severely burnt as evidenced by his face. Yet the white embroidery on his black leather vest is undamaged in any way. See more »
We gotta do something with your nose. Somebody fucked their slave and you've got the nose to prove it.
Fix it please.
[puts foundation on Jeremiah]
Camoflauge it. See? I learned that in beauty school. One day I'll go back. I'll get a shot with the stars in Hollywood.
Hold still. Alright, close your eyes.
[puts eyeshadow on Jeremiah]
Look left... look right... blink... look at me.
Can I come to Hollywood with you?
[starts putting lipstick on Jeremiah]
Can I come to Hollywood...?
[...] See more »
I can't say I "liked" this film, yet I can say it was better than I expected. Actress/Director Asia Argento is both the best and worst thing about this film. As director, she presented a story that had flow and made sense, and made a couple of very good choices as to when to use surrealistic and stunt casting tricks in service of the story. She also got excellent performances out of the cast generally. Except...
as an actress, she kept taking me out of the scene. If your reaction is the same as mine, just tune her acting out and let the story unfold.
I would also say that JT Leroy, writer of the prose on which this film is based, was involved in the production. Via letter, he introduced the film at various film festivals. The claim that this is a true story, that this is "my life" that Leroy makes, tends to inoculate the film from a lot of criticism. How can anybody say "the ending wasn't much of an ending" or "the mom was really over-the-top" if the person who lived the story says the movie is "true". In other words, a movie has to have its own truth, whether the story it tells is true or not. And I guess I think this is "7" because for all it's flaws (Argento's acting, skips in time that leave characters undeveloped, and a general lack of roundness to the characters that really could have been fixed), the movie did seem to find it's own truth.
For that I credit director Argento, young actors Jimmy Bennett, Dylan Sprouse and Cole Sprouse (who knew the Sprouse twins could act? Very well done), sharp (if stereotypical) cameo turns by Peter Fonda, Winona Ryder, & Ornella Muti (whom I took to be Lena Olin). Also props to John Robinson, who played Jeremiah's teenaged uncle -- an underused character in the film. Except I can't say that because this movie is a "true story". See? That's frustrating.
Oh, the content is strong, this is not for kids, and a LOT of adults will need to quit watching at some point. But it is overall worth the effort, if you have a strong stomach and can control your rage at the awfulness of the life depicted.
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