A young Jewish American man endeavors to find the woman who saved his grandfather during World War II in a Ukrainian village, that was ultimately razed by the Nazis, with the help of an eccentric local.
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.
Despondent over his breakup with Desiree, Zia slashes his wrists and goes to an afterlife peopled by suicides, a high-desert landscape dotted by old tires, burned-out cars, and abandoned sofas. He gets a job in a pizza joint. By chance, Zia learns that Desiree offed herself a few months after he did, and she's looking for him. He sets off with Eugene (an electrocuted Russian rocker) to find her, and they pick up a hitchhiker, Mikal, who's looking for the People in Charge, believing she's there by mistake. They're soon at the camp of Kneller, where casual miracles proliferate. They hear rumors of a miraculous king. Can Zia find Desiree? Then what? Where there's death there's hope. Written by
Around the 25:35 mark in the movie, the car pulls over to the right shoulder to stop for the hitchhiker. Yet in the next scene, when the driver puts it into reverse, it is back on the right lane of the road, not in the shoulder. After the car stops and picks up the hitchhiker, it again changes position about a minute later, and its tires are shown over the shoulder line, although it had stopped earlier in the middle of the lane. See more »
Are you joking? Do you guys like it here? Who the hell likes being stuck in a place where you can't even smile? It's hot as balls, everybody's an asshole. I just wanna go home.
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An excellent film and well worth seeing: It defies pigeonholing into a genre; it's a romantic comedy, but not *at all* like the stereotypical romantic comedy, even if it does use some of the same conventions. It's a road movie, but not in the traditional sense. The dynamics and even the plot work and are believable, requiring less suspension of disbelief than I would've imagined. The music and cinematography work well into a story that is darkly/morbidly funny but also a bit sweet, without being saccharine. The acting is well done and the characters believable and quite well developed. This is definitely an art-house film, but one that it really decently pedestrian and accessible, rather than esoteric or exclusionary (that is, appealing to only art-house film lovers). The sound works well, and visual effects are only ever momentarily cheesy.
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