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.
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.
When Altan swipes prescription drugs from his brother Nuri's pharmacy, they soon find themselves on a dangerous but funny road trip to get rid of the stuff and escape the mafiosi Altan ... See full summary »
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
Eugene (Shea Whigham) isn't smoking pot throughout the film, he's actually smoking tobacco cigarettes. Actor Whigham noticed director Goran Dukic smoked loose tobacco and rolled his own cigarettes and carried it in a plastic bag, and said that's what he wanted Eugene to smoke. See more »
After Mikal and Zia sleep together on the beach, just before they wake up from the shouts of Kneller, Mikal is barefoot. In the next scene, still sleeping, she has red shoes on her feet. See more »
I've thought about suicide again, but I haven't tried it. I didn't want to end up in a bigger shit hole than this one.
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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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