Nora Wilder is freaking out. Everyone around her is in a relationship, is married, or has children. Nora is in her thirties, alone with job she's outgrown and a mother who constantly ...
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Ivan is the fierce patriarch of a family of Croatian refugees in Auckland. Nina is his daughter, ready to live on her own, despite his angry objections. Eddie is the Maori she takes as her ... See full summary »
Nora Wilder is freaking out. Everyone around her is in a relationship, is married, or has children. Nora is in her thirties, alone with job she's outgrown and a mother who constantly reminds her of it all. Not to mention her best friend Audrey's "perfect marriage". But after a series of disastrous dates, Nora unexpectedly meets Julien, a quirky Frenchman who opens her eyes to a lot more than love.Written by
Sebastien Chenut who appears as one of the french guys in the café and Maud Geffray as the waitress are members of the french duo Scratch Massive who composed and produced the original score for the movie. See more »
I think I must be doing something horribly wrong, but I don't know what it is.
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What's broken in this film is the part where there are two believable characters who do something interesting together. This film has trouble with both likability and credibility, perhaps because they seemingly stole their plot from the bowels of a fortune cookie. On the one hand, we're looking for love in all the wrong places. On the other hand, we're loving ourselves in order to be loved. And these tired little anecdotes... just ugh. For her part, the director compounds these weaknesses by not understanding how to flesh out a character. She stereotypes the mother. She mishandles the circumstances of romance. She cuts moments that would have helped with character motivation (see deleted scenes); instead, wasting time on a series of lousy, boring dates that fly from one farce of a scene to the next. Parker Posey's character is the only one that isn't totally flubbed by hastiness. The film takes care in describing the anxieties that can impound a state of 30-something loneliness. The rhythms of being single are incisive, and underscored by a range of thoughtful, sympathetic details. But again, this isn't a vignette or portraiture; it's a full- length feature film that lacks the sophistication to be romantic.
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