A poet falls in love with an art student who gravitates to his bohemian lifestyle -- and his love of heroin. Hooked as much on one another as they are on the drug, their relationship alternates between states of oblivion, self-destruction, and despair.
Sparks fly when spirited Elizabeth Bennet meets single, rich, and proud Mr. Darcy. But Mr. Darcy reluctantly finds himself falling in love with a woman beneath his class. Can each overcome their own pride and prejudice?
Coming of age: Heidi, 15, runs away from home after her mom sees her kissing mom's boyfriend. She goes to a Snowy River resort where a vague job offer doesn't pan out. She manages to find a place to live and a job at a convenience store. She's between childhood -- nursery rimes and a scrapbook of glittery unicorns - and adulthood - working, sorting out emotions and sexuality, and dealing with social slights and false charges of bad behavior. She's attractive and her loneliness makes her vulnerable. She sleeps with Joe, the son of local ranchers, and she awakens in him feelings he can't express. Is there any way she can put off adulthood and be a kid awhile longer? Written by
SOMERSAULT is a well handled treatment of a young 16 year old girl's journey through the discovery of her own sexuality and how to separate love from sex through creative encounters and experimentation. It is a very even handed portrayal staying clear of any moral or cultural judgments, with delicate if not provocative undertones and undergarments. Heidi who left under a misunderstanding when she quite innocently had an affair with her mother's live in boyfriend, heads to the symbolic wilds of New South Wales where she meets several of the movies characters all involved in their own emotional development or lack there of and are destined to repeat the nightly beer bashes and multiple empty (although enjoyable) sexual encounters where this critic felt an immediate connection with their strife. Heidi's life is rapidly becoming a slow alcohol induced, sexually propelled train wreck when finally the retarded aborigine boy sagely suggests that she simply should call her mom, who comes and picks her up and all is forgiven. The character of the gay farmer served no purpose to propel the story line and in my opinion was a cheap ploy to get most movie critics who are wired that way to come see the movie. Heidi's smirk reflected in the window of her mother's car at the end of the move serves as a perfect juxtaposition to her curious look at the opening scene while removing her surrogate stepfather's pants. A masterfully balanced film that I give a five star stretchability factor to. Don't walk but run to see this movie!!
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