A failed London musician meets once a week with a woman for a series of intense sexual encounters to get away from the realities of life. But when he begins inquiring about her, it puts their relationship at risk.
A color-blind psychiatrist Bill Capa is stalked by an unknown killer after taking over his murdered friend's therapy group, all of whom have a connection to a mysterious young woman that Capa begins having intense sexual encounters with.
After five years travelling abroad, Antoine comes back to Montreal for the first time when he learns his grandfather his sick. Despite wishing to stay in the shadow, he will be confronted to the real reasons about why he left.
A couple checks into a suite in Las Vegas. In flashbacks we see that he's a computer whiz on the verge of becoming a dot.com millionaire, she's a lap dancer at a club. He's depressed, withdrawing from work, missing meetings with investors. He wants a connection, so he offers her $10,000 to spend three nights with him in Vegas, and she accepts with conditions: four hours per night of erotic play, and no penetration. During the days in Vegas, they get to know each other, have fun, meet a friend of hers; at night, at least after the first night, things seem to get complicated. Is mutual attraction stirring? Will they play by their rules? Can it be about more than money?Written by
As evidenced on the DVD, even the director, Wayne Wang, sums up the movie incorrectly as being about a guy who meets a stripper in a strip club. No, he met her at a coffee shop where he had seen her several times before, he introduced himself, they talked, he asked her what she did, and she told him she was a drummer, but that she supported herself by being a stripper. See more »
When Jerri is yelling at Florence in the hotel room, the crew and equipment are reflected in the mirror. See more »
[About Richard's gift of $2000.]
What planet is he from?
I'm still trying to figure that out.
See more »
If you decide to rent this film or catch it on HBO (which seems to run it several times a month these days), know up front that it is uneven and ultimately doesn't really end up anywhere interesting. The writer/director Wang was trapped with only two possible outcomes, granted. But after the level of trust his performers put into him, he owed them and us something more satisfying than where the movie takes the audience. However, the performance of Molly Parker makes watching this film more than worth the failings of the script.
No one, NO ONE, came close to what she does in this film that year. If you have any respect left for the choices the Academy of Motion Picture Arts and Sciences members, not to mention most of the critic groups, don't watch this movie. The fact that Parker was completely overlooked, while Julie Robert's over-hyped, far-short-of-spectacular turn in ERIN BROCKOVICH got the accolades, shows what total rubbish these critical popularity horse races really are. In CENTER OF THE WORLD Parker gives an astoundingly brave performance. Yet it is the nuanced, subtle touches that show the viewer her character's shifting attitudes that make it such a stand-out job.
Without a single line of expository dialogue to illuminate the internal one, one can follow the character's struggle to maintain the control she thought she had on her own emotions. The idea that some young people have the wisdom of adults without having had the experiences to form that wisdom and what happens when they face situations that test them in a similiar fashion is very intriguing. Its a shame the film cannot match the effort Parker puts into it. Peter Sarsgaard does a 180 degree flip from his turn in BOYS DON'T CRY and while not as amazing as Parker, he does fine job too. His character is more of a now stock one: the brilliant guy with immature sexual development.
But above all else, bravo Ms Parker, BRAVO!
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