Doris Miller is a shy, eccentric 60-something woman, living alone following the death of her mother, whom she has lived with for her whole life. At the funeral, her brother Todd and his wife Cynthia try to persuade her to sell the house, especially the possessions, as she is a hoarder. Her only close friend is the fiery Roz, though she also gets along with Roz's granddaughter Vivian. On her way to work, where she has been doing data entry for decades, she meets new young co-worker John, with whom she is immediately infatuated. Empowered by self-improvement tapes, Doris decides to go after him..
The date under Brooklyn's picture on the Facebook page is November 6, Sally Field's birthday. See more »
When Vi is doing dishes with Roz, her microphone battery pack is visible under the back center of her dress. See more »
I met a woman in the elevator this morning. We hardly exchanged more than a few words, but she made a big impression on me. She's standing right there... Look lady, I don't even know your name, but you set off a fire inside of me that I've not been able to put out since the moment I laid eyes on you. Can we explore this?
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Baby Goya and The Nuclear Winters' new album cover featuring Doris appears near the beginning of the credits. See more »
This is a great example of ultrafine filmmaking that simultaneously courts convention, and then proceeds to transcend it.
It starts up as straight-up storytelling bolstered by a focus on character/scenario development, and winds up being quite close to mythic. Doris starts out as a "character", but ends up as a goddess. That's a laudable achievement for film.
This flick, more than many, gets my inner wheels turning, pondering the production process that brought together so many fine talents to produce such a fine film product. After watching so many hi-tech, meticulous productions that skimp on narrative/mythic depth, it's nice to see a mid-tech product that really does deliver the goods.
Check it out.
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