Dawn Cottrell (Peterson) seems like a typical sixteen-year-old girl, but she has a very dangerous secret. Unable to express her true feelings, whenever Dawn is upset she grabs a knife and cuts herself.
Archie Williams is a 17-year old media geek who has suddenly found himself the most talked-about kid in school. He has announced that he's going to kill himself- on camera- for a class project. His classmates, parents, Sierra- the most beautiful girl in school, and a "Shady Bunch" of shrinks, doctors, pill-pushers, and counselors descend on Archie. Some are hoping to save him, some want to imitate him, others try to push him over the brink. Archie films every moment of his high school experience, hiding nothing from his audience: realities of life, death, violence, sex, drugs, and the intense media overload and hypocrisy that bombard all teenagers. Written by
Steven Jay Rubin, Executive Producer
'David Lee Miller' invited by the Vatican and the Pope to attend the historic "Meeting of the Artists with the Holy Father in the Sistine Chapel" in November 2009, as a result of the 4 Giffoni wins. The filmmakers were also invited by Pixar to screen the movie at their Emeryville, CA campus on Sept. 10, 2009. See more »
Salvation is on every street corner and you take one space or you give it.
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This film is about a boy who suffers from the fantasy unique to our age: the belief that one's entire life is a movie. The Truman Show is a good example of this: the notion that one's entire life is so perfect, so banal, repetitious and ordinary, that it must be scripted-- it cannot possibly be real. So this boy, Archie, records as much of his life as he possibly can on video, and edits it together in his room.
The problem is, no matter how much of his life he makes into a movie, it still feels meaningless. So he announces in his high school film class that he will make a movie in which he kills himself. That will be the plot and the grand finale.
His entire neighborhood starts gossiping about him, and his life changes enormously. This is when his real movie-making starts. Suicide is always lurking near him, and the entire movie is a play on various questions of suicide: when we kill ourselves, what are we doing? Is every death a 'suicide' because of the necessarily unsafe ways we live our lives? Is suicide an act of freedom and defiance, or of conformity and weakness-- or neither?
Some great cameos from unexpected actors add to the film a lot.
This is one of those rare films that covers the entire emotional spectrum, and does so effortlessly. It is as hilarious as it is tragic, as fragmented as it is thorough. If it receives the distribution it deserves, it will be a hit.
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