Captures a generational moment - young people on the cusp of truly growing up, tiring of their reflexive cynicism, each in their own ways struggling to connect and define what it means to love and be loved.
A daughter's idyllic life is turned upside-down by immense tragedy. As she grows older, her cynicism and apathy towards her new reality is challenged by a reminder from the past that sets her on a pilgrimage which will define her.
A tragedy presents Laurel with the chance to reinvent herself as her idolized twin sister, Audrey. As she eases into the life she has always wanted, she must decide between continuing the lie or revealing herself as the perfect fraud.
Six New Yorkers juggle love, friendship, and the keenly challenging specter of adulthood. Sam Wexler is a struggling writer who's having a particularly bad day. When a young boy gets separated from his family on the subway, Sam makes the questionable decision to bring the child back to his apartment and thus begins a rewarding, yet complicated, friendship. Sam's life revolves around his friends-Annie, whose self-image keeps her from commitment; Charlie and Mary Catherine, a couple whose possible move to Los Angeles tests their relationship; and Mississippi, a cabaret singer who catches Sam's eye.Written by
Sundance Film Festival
If you live the life in films that I do, you will be offended when a filmmaker takes his responsibilities lightly. That is what I felt when watching this.
The writer of the thing has made himself the central character: a writer who has trouble producing a long form work and instead creates short stories.
He (the filmmaker) thinks he can get away with giving us three small stories instead of a real film. The central precedent of course is Altman's 'Short Cuts' made into a subgenre by Anderson. But those men worked on a long form where characters and situations were simply split among several actors. What we have here is three half hour short stories about relationships.
The irony of the thing is that there ate two folds referencing this inadequacy (seen as an acceptable narrative strategy). The first of course is the many references to the on-screen writer (and indeed all the male love interests) to work in long form.
The second is a juvenile who plays mo role whatever except to produce amazing small artworks that we are supposed to accept as genuine art.
I must admit that the craft is well executed. Sequences are tied by songs of the sort sung by one of the (supposedly endearing) characters. There are a lot of feel-good buttons pressed here and the . But the overall effect is that the filmmaker has a superficial understanding of love and story (which means love).
Ted's Evaluation -- 2 of 3: Has some interesting elements.
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