Directed by | |||
| Marianna Palka | |||
Writing credits | ||
| Marianna Palka | (written by) | |
Produced by | |||
| Jennifer Dubin | .... | producer | |
| Jeremy Glazer | .... | co-producer | |
| Kevin Lowe | .... | co-producer | |
| Cora Olson | .... | producer | |
| Marianna Palka | .... | producer | |
| Jason Ritter | .... | producer | |
Original Music by | |||
| Jared Nelson Smith | |||
Cinematography by | |||
| Andre Lascaris | |||
Film Editing by | |||
| Christopher Kroll | |||
Production Design by | |||
| Andrew Trosmans | |||
Costume Design by | |||
| Daphne Javitch | |||
Makeup Department | |||
| Lara Cilento | .... | key makeup artist | |
Production Management | |||
| George Rizkallah | .... | post-production supervisor | |
Second Unit Director or Assistant Director | |||
| Jason Kennedy | .... | second assistant director | |
| Nicholas Monsour | .... | first assistant director | |
Art Department | |||
| Jefry Shebroe | .... | set dresser | |
Sound Department | |||
| Joshua Adeniji | .... | foley editor | |
| Shaun Cunningham | .... | adr editor | |
| Robert Dehn | .... | assistant sound editor | |
| Levent Erdogan | .... | adr editor | |
| Brent Findley | .... | sound effects editor | |
| Judah Getz | .... | adr mixer | |
| Judah Getz | .... | foley mixer | |
| Scott Hinkley | .... | sound re-recording mixer | |
| Scott Hinkley | .... | sound supervisor | |
| Cody King | .... | sound effects editor | |
| Richard Kitting | .... | additional sound re-recording mixer | |
| Zach Michaelis | .... | foley mixer | |
| Reza Moosavi | .... | sound recordist | |
| Jonathan Wales | .... | sound re-recording mixer | |
Visual Effects by | |||
| Peter Allendale | .... | digital compositor: Comen VFX | |
| Lisa Annitti | .... | controller: Comen VFX | |
| Tim Carras | .... | visual effects supervisor | |
| Joshua D. Comen | .... | visual effects producer | |
| Brandon Criswell | .... | digital compositor: Comen VFX | |
| Lori Freitag-Hild | .... | digital compositor: Comen VFX | |
| Thomas D. Moser | .... | title animation | |
Costume and Wardrobe Department | |||
| Julie Medeiros | .... | assistant costume designer (as Julie Anne Medeiros) | |
Editorial Department | |||
| John Karian | .... | color timer | |
| Paul Yacono | .... | colorist | |
Other crew | |||
| Aleesa Adams | .... | production assistant | |
| Noor Ahmed | .... | production legal | |
| Saralyn Armer | .... | key set production assistant | |
| Amy Arter | .... | script supervisor | |
| Aimee Campolucci | .... | production assistant | |
| Michael Freeman | .... | production assistant | |
| Todd Hacker | .... | production assistant | |
| Dana LaRue | .... | craft service | |
| Leilani Makuakane Potter | .... | production assistant | |
| Benjamin R. Reder | .... | production legal counsel | |
| Chelsea Rock | .... | production assistant | |
| Hunter Stiebel | .... | craft service | |
| Mitch Yapko | .... | production assistant | |
| Mickey Cottrell | .... | publicist (uncredited) | |
Thanks | |||
| Hadrian Belove | .... | special thanks | |
| Nancy Morgan | .... | special thanks (as Nancy Morgan Ritter) | |
| Yoni Ovadia | .... | thanks | |
| Annie Sprinkle | .... | special thanks (as Dr. Annie Sprinkle) | |
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| Clerks. | Freeway | Sol Goode | Head-On | According to Spencer |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Comedy section | IMDb USA section |
The movie is at times a bit slow, and the actress' acting a bit flat but that is part of the whole intriguing plot, which as you suspected at the beginning, is true.
If you're hoping to see porn in the movie just because the descriptions seem to want to tell you that the woman is a porn addict, think differently. The only skin that you'll see is her naked back a few times.
Although the plot unfolds very slowly, that's the point. There are some mental health and abuse issues here, and in real-time most similar interactions would never progress as far as this movie does by the end, and most likely far less successfully as the eventual turnout of the plot.
Interesting, intriguing, not Oscar-candidate but a strong entry especially considering the topic(s) involved.