SAVAGE GRACE

US/Spain, 2007, 105 minutes, Colour.
Julianne Moore, Stephen Dillane, Eddie Redmayne, Hugh Dancy, Belen Rueda, Anne Reid.
Directed by Tom Kalin.

Years ago, Tom Kalin made Swoon, a black and white, low budget take on the Leopold- Loeb murders in 1920s Chicago (the basis for Hitchcock’s Rope). The film explored the sexual and violent obsessions that united the psyches of the two wealthy young men. Now Kalin is offering another case study of sexuality and violence and an obsessive relationship. This time it is bigger budget, in colour, with a Hollywood star.

Brookes Baekeland (Stephen Dillane) is the grandson of Leo Baekeland who invented (and grew wealthy from) bakelite. He is married to a working class wife, Barbara (Julianne Moore) who has assumed all the pretensions, and more, of New York society. She also dotes (an understated word) on her baby, Tony.
We see them and the brittle marital relationship in 1946 when Tony is born, in 1959 on holiday in Paris and in the late 60s and early 70s in Spain and London.

Barbara Baekeland wanted to be an actress and she certainly lives a histrionic life. Betrayed by her husband, she continues to smother-love her son (Eddie Redmayne of Like Minds and The Good Shepherd) who is also asserting his homosexuality. Neither consciously recognise their love as destructive and emotionally incestuous. It ultimately destroys them both in madness and violence.

All the cast except for Julianne Moore are either British or Spanish. Redmayne is British as is Stephen Dillane who portrays Brookes and Hugh Dancy who plays Barbara’s ‘walker’, her camp adviser.

Although there is more than a touch of prurience, this is an interesting tale of wilfulness among the rich and pampered.

1.The title of the film, American grace, European grace, surface grace, savagery under the surface?

2.The focus on wealth, love, pampering? Relationships? Sexual obsessions, violence? Madness?

3.The work of the director, the small budget, the use of New York and European locations, the international flavour, the international cast? The score?

4.The film as a psychological case study, of a wealthy American family, based on facts? How exploitative? How frank? How insightful?

5.The New York setting: the focus on Barbara, on the phone, her clothes, way of speaking, socialising? The reaction of Brookes? His wanting to be his own person? His having married Barbara? Her middle-class background, work, her mother doing the babysitting? Her talking to her baby? Treating him almost as an adult? Her moodiness, histrionics? Going out, the dinner, Dutch royalty, gossip? Her provocative questions? The meal, leaving alone, coming back late, Brookes and his waiting? Her fussing over the baby? Her relationship with her mother, her mother coming to babysit, Brookes’ wariness? The mother and her delight in looking after the child? Brookes and the sports club, the fencing, the showers, the discussions with his friend? His talking about his grandfather, his ingenious inventing of bakelite? The background history of the family, the wealth, his spoilt father, frittering the money away? Brookes and his admiration for his grandfather? The possibility of a loving marriage, a home?

6.Paris, 1959? Barbara still histrionic, Tony at thirteen? Precocious? Doting on his mother, wanting to go out, her giving him treats? His knowledge of languages, study? Brookes and his work, writing? His friendship with the Spanish couple? Inviting them to a meal? Their bringing the professor, the friend of Proust? Barbara and her chatter, asking about Proust’s homosexuality – and indication of themes to come? The comments about language, her wanting Tony to come and recite, his bringing a provocative book, but not reading? The Spaniard’s trying to put him at ease? Barbara’s angry reaction, her understanding the visitor’s remark about her figure? Her tantrum? Brookes and his reaction, going after the group? Barbara following him to the hotel, lovemaking, his brutality? The beginning of the end of the marriage?

7.Spain, 1967? Tony at twenty-one, his devotion to his mother? Their holidaying together in Spain? The absent father? Yet Tony wanting to relate well to his father, thinking his father disliked him? His friendship with Jake, the marijuana, the sex talk? Yet the infatuation between the two young men? Blanca and her becoming part of the group? The meals, Blanca, her manners? Barbara thinking that she understood Tony and his sexual attitudes? Setting up Blanca? The night, the kissing, the failure? The irony of Brookes looking at Blanca, going off with her? Barbara at the airport to meet Sam, her seeing Barbara and Brookes, her loud tantrum at the airport? Her going off with the taxi driver – and sexual activity just for spite? Her praising him, giving him the tip? The effect on Tony? His relationship with Jake? Barbara countenancing it? Yet her still wanting to protect him? Tony and his age, his build, physical appearance? His dependence? The arrival of Sam, the Walker for Barbara? His arranging gossip about the divorce, letting her be seen with her Spanish friend, the old lady? That she was her own woman? To continue her painting, have a gallery exhibition? His advice to Tony about Jake, that he was looking after Jake, that he was looking after his mother, that he had to do something for himself? Tony and his confidence, going into the bed, the threesome? Their laughing? Barbara’s reaction to Tom spending the night with Sam? Sending him off? Tony feeling betrayed? The character of Sam, the homosexual who was the Walker, his advice to the women, a suitable companion? Sexual behaviour?

8.Barbara, her growing depression, her slitting her wrists, going to hospital? Out, at dinner, having Tony bathe the wounds? The sensual touch? Tony and his attitude towards his father, writing him the letters, going to the house, hiding them in the garden, Blanca seeing and pursuing him? His wanting to write, and the letters to his father?

9.1972 in London, Barbara and high society, insinuating that she would like a dinner at a wealthy house, their acquiescence? Her exhibition? Tony and his new suit? The texture of the material? The sexual encounter between mother and son – the way it was photographed, the effect on Barbara, the effect on Tony?

10.Tony and his mother, dependence, talking in the kitchen, her atmosphere of joy, his getting the knife, killing his mother? Ordering the food, saying he was hungry? Collecting the food, eating it in the kitchen with his dead mother? The arrival of the police?

11.The crowd seeing him taken off, asking whether it was a celebrity? The aftermath about his being in prison – his letters to his father, saying that prison was what was expected? Manslaughter because of criminal insanity? His being released – going to his grandmother, arguing with her and killing her within a week? Return to an institution, killing himself the next year with a plastic bag?

12.The insights of the case study? Not just a theoretical case but real people, real stories, the pampered and the spoilt, the wealthy? The insights into Tony’s character, obsessive mother-love?

LES CHANSONS D'AMOUR (LOVE SONGS)

France, 2007, 95 minutes, Colour.
Louis Garrel, Ludivine Sagnier, Chiara Mastroianni, Clotilde Hesme, Gregoire Leprince- Ringuet, Brigitte Rouan.
Directed by Christophe Honore.

Christophe Honore’s films are usually talkative, abstract reflections and interactions about communication and love. This one is less talkative. However, the characters suddenly burst (or, rather, quietly begin) into song, the French plaintive ballad style with lyrics that hover between depth and the trite.

Structure has three parts: Departure, Absence, Return. Of love, that is. This relates to Julie (Ludivine Sagnier) who dies, leaving her boyfriend (Honore regular, Louis Garrel) and family. They all feel (and sing) her absence. But the way they return from grief to ordinary life varies considerably, especially for Ismael, the boyfriend. Honore maintains some geometric patterns within the structure, with the central characters attempting all gender possibilities.

As they say, this is particularly French in content and style, but it does centre on a self-preoccupied, superficial young man whose life’s framework seems indulgently amoral.

1.The title, the songs during the film? The lyrics, the music? The characters, relating to their quests? How effective?

2.Paris, the city itself, the workplaces, the homes? Ordinary life?

3.The structure of the film: the departure, absence, the return? With reference to whom?

4.The patterns of relationship, especially for Ismael throughout the film, with each of the characters, gender preferences? Sexuality, emotions?

5.The focus on Ismael, his work at the office, the paper, working with Alice, the phone call from Julie, her exasperation with him, her going to the film? At home, the three together? The ménage a trois? The effect on each of them? His working with Alice, his friendship with Julie and her family? The meal, his amusing the family with his voices and the puppet? Julie’s death, the effect on him? Her absence and his sadness, meals with the family, with her sisters, with Jeanne, with Jasmine? With her mother and father? Their wanting him to have her money and insurance, his refusing? The relationship with Alice? His going to the store, picking up the girl serving? Alice and her relationship with Gwendal? Erwann and his approach, the night, the apartment? From Breton, Ismael’s reaction? Erwann pursuing him? The time together, seduction, love, the songs? Jeanne and her disillusionment with him? His final decisions, returning to Erwann? A self-centred man, amoral framework, shallow in relationships?

6.Julie, her relationship with Ismael, love, exasperation, the relationship with Alice? The meals at home, her confiding in her mother, describing her experiences? Her sudden death? Appearing as a ghost in the last part?

7.Alice, at work, relationships, with Julie, with Ismael, working with him? With Gwendal, breaking it, thinking Erwann was coming to pursue her? Her tolerance?

8.Jeanne, older, the place in the family, picking up Julie’s things, her bonds with Ismael? Her shock at his behaviour? Her not judging him – but judging him?

9.Erwann, from the country, studies, homosexual, attachment to Ismael, in the apartment, ringing him, their song, the sexual relationship, the end?

10.The mother and father, their love for their daughters, Jasmine and her moodiness, the encounter with Ismael? The mother and her slipping out at night to discuss the issues, the father and the issue of the money?

11.The French style, abstract talking and reflection, the role of the songs, their lyrics? Sexuality, identity, relationships? An amoral framework?

THE FLIGHT OF THE RED BALLOON

Taiwan, 2007, 113 minutes, Colour.
Juliette Binoche, Simon Iteanu, Song Fang, Hippolyte Girardot, Louise Margolin.
Directed by Hou Hsiao Hsien.

The final credits suggest that this is a homage to Albert Lamorisse and his beautiful 1956 film, The Red Balloon. While a red balloon does fly over the city of Paris in this contemporary tale – as a guardian, as a friend or, simply, a movie icon – this film has little to do with 1956 in tone or plot. Yes, there is a young boy, but it is the story of him and his mother and the ups and down of living in Paris (or most places) today.

The film requires a strong suspension of disbelief. It also requires a sensibility that delights in staying focussed on small details rather than quickly getting the big picture. There is such attention to detail (sometimes a feature of the director’s Taiwanese films) that scenes of minutiae go on and on – and the prolongation is itself prolonged. We are present for a long piano lesson. We watch little Simon play pinball at some length and his new Chinese nanny, Song, filming him. There is some dynamic in the structure of this tale of mother and son and nanny but it is meanderingly episodic. Those who want a quick fix or are happy with intuitions about the big picture will need a lot of patience.

The distinctive performance of a blonde Juliette Binoche must be praised. At times she is all nerves and clatter. She has moments of sheer delight in her son. She is a voice for a marionette play based on Chinese legends which gives rise to quite some vocal versatility. The boy, Simon Iteanu, is a natural and he is centre screen for much of the time.

We have a Taiwanese director who is looking at Paris through magical eyes while bringing his own perceptions about the difficulties of contemporary life everywhere.

1.The influence of Albert Lamorisse’s The Red Balloon? Its classic status? The balloon, the boy? The references to the earlier film? A homage to it?

2.The title, the visuals, the red balloon, in the city, over the city, as a sign, a guardian, an icon? Its absence during the film? Simon wanting it, seeing it, hiding from it? Not seeing it later?

3.The focus on Simon, the opening, talking to the balloon? His not seeing the balloon in the Metro or hiding from it? The balloon, its always being there? The references to the film by Song?

4.The background of the marionettes, Chinese legends, themes, the empress devouring her enemies, boiling the sea, the dragon king? Suzanne and her voices, her histrionics, seeing her at the rehearsal, enjoying this, the range of voices? The family tradition, her grandfather and marionettes? Her introducing the Chinese expert? The story in the final credits?

5.Simon and his age, Song looking after him, playing pinball, her filming him, the food, the piano lesson and its length, at school, good at maths? His memories of Louise, explaining her to Song, the past, the flashbacks? Relationships, his absent father, Pierre absent for two years in Montreal, his mother and her presence, her love, care? Her moods? The film’s emphasis on the details of their life, in the house, outings? His character?

6.Juliette Binoche as Suzanne, hearing her at the rehearsals, seeing her? Her love for Simon, hiring Song, going back to the rehearsals, coming home, Marc and the mess in the kitchen, her anger, Pierre and his absence, her not having the money? Her searching for the lease? The details at home, phone calls, visits? Going with the Chinese expert? The discussions with Louise, her not coming to Paris? In the house her character? The end, at the rehearsals, the contrast with her quiet looks of love for Simon?

7.Song, student from Beijing, films, Suzanne watching her film and praising it? Her work as a nanny, getting Marc to get permission to cook, her work, filming Simon, editing it on the computer? Her character?

8.Louise, memories, in Brussels, the visit, the grandparents, her not coming? Visualised in memory?

9.Marc and his girlfriend, neighbours, the mess in the kitchen, not contributing to the bills, the moods and clashes with Suzanne?

10.The film’s comment on the details of life, contemporary family, accommodation, work, bringing up children? Difficulties?

11.Yet the presence of the red balloon, hovering over the city of Paris, the beauty of the city? All lives like this – and the Chinese director manipulating his characters and stories as he did with the marionette players?

THE BANISHMENT

Russia, 2007, 150 minutes, Colour.
Konstantin Lavronenko, Maria Bonnevie, Alexsander Baluev.
Directed by Andrei Zviaguintsev.

There is a tradition in Russian literature and cinema that length offers no difficulty, is almost a requirement. A contemporary world finds little time for Tolstoy or for classic films that run for more than two hours. The Banishment runs to two and a half hours. It offers time for contemplation and for reflection – which is well worthwhile.

Andrey Zviagintsev made a great impact in 2003 with his Venice winner The Return (winner of SIGNIS, Ecumenical and Templeton awards), a beautiful but sad film about a father reuniting with his two sons. This follow-up is a very confident film, beautifully directed and photographed, naturalistically and convincingly acted, a film of great craft in the Russian tradition. There will be no difficulty in critics talking about the Tarkovsky influence, not only in the film’s look and landscapes but also the plot and its metaphysical dimensions of reflection.

It is also a film of Russian melancholy, focussing on what seems an idyllic family consisting of father, mother, son and daughter. They move from a dingy industrial city into the old family home in the remote countryside and all seems wonderful until the wife changes everything by speaking about eight, almost emotionless words: that she is pregnant. Her husband’s anger leads to recriminations, to hasty decisions and to issues of abortion which have tragic results.

The director, however, makes one big move towards modernity in storytelling. Just when you think the film is ending with an extraordinary tracking shot of water flowing and nourishing the ground, the film moves to another 30 minutes or so, going back in the narrative to give more detail and explanations of why the tragedies happened. Ultimately, this is more satisfying as it offers psychological and some metaphysical considerations on lack of communication and love.

However, as the history of Russia shows, and the final scene of women singing, raking in the harvest, life must go on.

1.The impact of this film? Russian? Universal? Themes and style?

2.The Russian tradition, length, well crafted, locations and beauty, melancholy, time for contemplation, sound engineering, electronic music, the musical score, the choir?

3.The structure: linear, the change before the end, the long flashback, explanation? The ending?

4.The title? To whom did it refer? Based on William Saroyan’s The Laughing Matter?

5.The opening and the mood, the landscapes, the time, the car, the countryside, the roads, the city, the industrial area, the rain? Mark and his bullet wound, seeking Alexsander(*?), the bond between brothers, taking out the bullet, not getting a doctor, resting, not wanting to see Alexsander’s family? The discussion about the ancestral home and selling it?

6.Alexsander, his work, away from home, in the city, the decision to go to the family home, lying with his wife, contemplating? The train ride, the long walk to the house, fixing it up, letting in the light, the detail of ordinary things, the dry creek, the sheep, the walnut tree, the different rooms, food and cooking, idyllic? The picnic under the tree?

7.Viktor, the phone call, the grandfather, the visit, the friendliness, the children, the bonds between the families?

8.Alexsander as a character, quiet and intense, reliable, emotional, interior? His bonds with Mark? With his son? With his wife and daughter? The episode with their tears, the non-communication, the end of the day, Vera and her talking about being drunk, telling him bluntly about the pregnancy?

9.The effect on Alexsander, going for a walk, phoning Mark, getting the lift with Max, the explanation, borrowing his car? Not going, the return, the tensions, not talking, unhappy?

10.Mark, his character, a gambler, losing his family? The bond with his brother? Advice about the abortion? Mark saying that whatever decision made was correct and right? The quick moves, the phoning for the abortionist, Vera, her grief, passivity, her worry about the child, saying that Kir would become like his father and uncle? Agreeing to the abortion, the abortionist’s arriving, the procedure, the children away with Viktor’s family, the jigsaw puzzle and the Annunciation and the conception of Jesus? The reading from 1 Corinthians 13 about love? The abortion, Alexsander and the after-effect, changing his mind, sorry?

11.Vera, her happiness, unhappiness, the child, the pregnancy, saying that it was not Alexsander’s? Her giving up, allowing the abortion? Asleep, the coma, the doctor arriving, the truth about the pills, the pregnancy test results, the letter? Mark and his collapse, heart trouble?

12.The funeral arrangements, Alexsander wanting to look at his wife, the burial itself, the priest, the church (and the previous visit to the grandfather’s grave in the cemetery)? Mark’s death?

13.The doctor and his role, the certificate about Vera’s death, telling the truth about Vera, warning Mark, getting the ambulance, closing the house?

14.The portrait of the children, their age, normal, playful, the friendship with their cousins?

15.Alexsander, getting the money and the gun, driving, through the rain, waiting for Robert, the gun?

16.Robert and Vera’s phone call to him, audience suspicion?

17.The river, the water flowing down, the long tracking shot – an ending for the film?

18.The sudden flashback, so long, Robert, his character, the truth, Vera and the initial overdose, her phone call to him, making her sick, helping her recover, staying with her? The talk? The children going to the circus, Kir and his breaking the doll’s head? Their return, Kia’s suspicions?

19.Vera and her talk, communicating with Robert, the background of her marriage, Alexsander’s child, the test results, Max delivering them, her pregnancy, writing the note, not wanting Robert to tell the truth? Her death wish? The philosophic implications of unhappiness, communication, loss of love?

20.The finale, Alexsander and the children, a future?

21.A film of beauty, tragedy? Russian melancholy? The final sequence in the fields, the women at work, the song – life going on?

WATER LILIES

France, 2007, 95 minutes, Colour.
Pauline Acquart, Louise Blachere, Adele Haenel.
Directed by Celine Sciamma.

First time director Celine Sciamma says she is remembering and dealing with questions of ten years earlier in her own life as she charts the story of three fifteen year old girls during a summer holiday. She also says she was intrigued by synchronised swimming and this is how she leads us into the stories.

The film is really a portrait of Marie, introverted, feeling awkward about her less than developed body, pals with the largish Anne (though not above being nasty to her about her size), infatuated with the team captain, Floriane, who is the kind of homecoming queen type. The portrait of Anne is of a childish girl who feels out of place though really wants to be in place, relies on Marie but who is singled out for favour by the local jock, Francois, who is the prom king type with Floriane. Floriane is not all she looks. She is attracted to Marie and not to Francois but enlists Marie’s help to stop her seeming to be the local virgin.
She is finally seen gyrating alone at a dance, completely self-absorbed.

Complications, emotions, distress, immaturity and infatuation.

1.A film about adolescence? Girls? Growing up? The suburbs? Relationships? Sexuality? French style?

2.The town, homes, the swimming pool, parties? Authentic and real? The musical score?

3.The swimming pool itself? The visuals, the pool, the changing rooms, the showers? The parties? Real?

4.The synchronised swimming, the children, the tots, the younger girls, the teenagers? Their coordination, performance? The old-style Hollywood musicals? An achievement for the girls? Teams, captains? The boys?

5.A woman’s world? The almost absence of boys? The absence of parents? The complete focus on fifteen-year-olds?

6.The girls themselves, their background, family, education? Self-knowledge, not? Curiosity? Communication? Friendship? Sexual identity?

7.The portrait of Marie, by herself, watching the swimming, wanting to join? On the outer? Her friendship with Anne? Home life? The affection towards Anne, sharing with her? Her later being nasty to her about her breasts? The meeting with Floriane, the captain, her infatuation? The meeting, the discovery of the sexuality? The plan about the boys? Floriane and her virginity? Her concern? Marie and her refusal to act? Her changing her mind? The clinical look at the loss of virginity? The aftermath? Marie, devoted to Floriane, going to the party? Discussions with Anne, anger with her? Going shopping with Anne, the shoplifting the necklace? The gift to Francois? The party and Floriane’s narcissistic dancing? Her going home – her future? Her being with Floriane, looking at the ceiling – her comment on retaining images of ceilings when people die?

8.The portrait of Anne, large, in the team, her abilities? Her embarrassment in the changing room, coming out? Childish, wanting the McDonald’s? toys? Shoplifting? Giving the necklace to Francois to give to Floriane? Francois and his coming to her, the sexual encounter? Her dependence on Marie, Marie’s rudeness to her? Her leading Francois on, spitting? Returning to Marie?

9.The portrait of Floriane, the captain, beautiful, her reputation, flirt? With Francois? Her sexual refusals? The encounter with Marie, communicating, talking, the ceilings? Wanting to have a flirtatious reputation? The virginity? Her request of Marie? Later Marie fulfilling it? Going to the dance, spurning Francois? Leading him on? Finally seeing her dancing self-absorbed?

10.Francois and the boys, the stereotypes, at the swimming pool, sexual flirtation? At the party? Francois and Floriane, her refusal, his going to Anne, her saying she liked him? Spitting?

11.An insight into children? At fifteen? Girls? The director and her own past with swimming, sexuality, growing up? Her perceptions about girls at this age and their preoccupations?

TRIANGLE

Hong Kong, 2007, 93 minutes, Colour.
Louis Koo, Simon Yam, Sun Hong Lei.
Directed by Tsui Hark, Ringo Lam, Johnny To.

Six screenwriters and three directors for this Hong Kong crime drama that any of the directors could have made with little effort. But, they seem to have decided to go for broke.

During the first hour one is wondering whether to simply say that characters and treatment are bordering on the absurd. However, the final thirty minutes go over the border and one is left, open-mouthed at what is going on, debating whether ridiculous or ludicrous are words to describe the ‘beyond-absurd’.

Even Tarantino who admires their work might pause for assessment – but, then again, he probably wouldn’t after the Kill Bill spectacles and Grindhouse.

There is a crime. There are three men in need of money who carry out a crime. There is a policeman who is having an affair with the wife of one of them – and she is beyond crackers! There are triad types. There is a policeman on a pushbike. There is a mentally retarded tyre repairer. And, somehow or other, they finish up all trying to kill each other or to get possession of some antique treasures in a plastic bag, of which there are several mistakenly flying about.

It’s time for them all to get back to the normal crime thrillers they do so well.

1.The popularity of these directors? Their manay films? Genres and conventions? Crime films? Their collaboration?

2.The plausibility of the plot, the crime, the police, the background of the criminals? Their behaviour? The affair? The robbery itself? The aftermath? The group all confronting each other outside the restaurant, in the woods? The musical score?

3.The film based on computer games? Characters and styles, action? Confrontations and decisions?

4.The three men, the early indications of their background, their need for money? Ah Fai and his mother, the restaurant? Bo Sam, the death of his first wife and the insurance, his second wife and her behaviour? Mok and his antiques business? The proposition? The legislative assembly, the antiques? The background of Wen and his police work, his affair with Bo Sam’s wife?

5.The personalities, their interactions, persuasion? The carrying out of the crime, the coffin, in the tunnel, the warehouse, opening it, the mythic reading on the tomb? The wife who died for her husband? The gold, the cloak?

6.Wen, police work, the affair with Ling? Ling and her erratic behaviour? Her pregnancy? Her alienation from her husband? Wen and his coping? Their being seen in the cyber café? Wen and the betrayal? His following the group?

7.Ling, her relationship with her husband, obsessive, angry, the three-year relationship with Wen? Her hysterics, the pregnancy? The interactions with her husband? Denunciations?

8.The background of the triad types, their contact with Ah Fai?

9.Betrayals, each and his behaviour? Suspicions of the others? The final gathering? The police pursuit?

10.The car, the auto mechanic, his behaviour, the tyres needing replacement? The bicycle policeman and his eventual following, his tyres?

11.Everybody gathered around the diner, the old lady and her cooking? The tension? The behaviour of each, the plastic bags? Observing, shooting, the absurdity of the action, involvement and behaviour?

12.The ultimate confrontation and the four getting away, the absurdity of the plot and characterisation? The ludicrous touches? How entertaining?

4 MONTHS, 3 WEEKS AND 2 DAYS

Romania, 2007, 113 minutes, Colour.
Anamaria Marinca, Laura Vasiliu.
Directed by Cristian Mungiu.

A completely overwhelming film that is gruelling to sit through. It is strikingly made and performed. It won the Palme D’ Or.

In 2005, the Romanians gave the world an emotionally draining picture of dying and hospital indifference in The Death of Mr Lazarescu. (This film has the same Cinematographer and Editor/Sound Designer). Now we are offered an equally emotionally draining picture of an illegal abortion. The reality and facts are laid before us for our intellectual and emotional response without a didactic moralising. However, audiences are forced to think about their moral stances. Those against abortion will need no persuading. Those who are in favour will be challenged to look at the issues and their consequences. In fact, the title does seem to make a moral statement about life. The setting is 1987.

This is the response of a male viewer. We need to hear the impact on a female audience, especially concerning the abortion scenes and the talk and behaviour of the abortionist, a man.

The structure of the film (which takes place during one winter day) is a series of chapters in the life of two university roommates, Gabita who is pregnant and her friend Otilia. Laura Vasiliu and, especially, Anamaria Marinca as Otilia are totally real.

We seem to spend a lot of initial time watching Gabita pack and Otilia doing the rounds of the dorm. It is fly on a wall observation of people. We are not sure what the issue is at this stage but it is not a difficult guess. Then Otilia books a hotel room. She meets the abortionist and a palpably excruciating discussion ensues with the man pulling no punches in description nor in the price from both women he demands. We look objectively at the procedure.

Surprisingly one of the best dinner sequences in film follows as Otilia goes to her boyfriend’s mother’s birthday party. One long take with her at the centre, furious and anxious, listening to the older generation describe life under Communist rule (good old days). We are not spared the aftermath of the abortion and a nightmarish episode as Otilia tries to dispose of the foetus.

Totally disturbing and challenging, brilliantly made.

1.The impact of the film? Romanian? The background of Romania itself, the communist era? Changes? The title – and its coming from ‘Tales from the Golden Age’ (reappraisal of the communist era)?

2.Abortion as the issue, abortion in itself, the consequences for the women, the abortionist, in Romania, banned during the communist era, legalised afterwards?

3.The presentation of facts, details, characters, story – plain and straightforward? Different audience presuppositions for and against? The impact of the film on each camp?

4.The emotional impact, intellectual, moral? Moral stances or not? The title and the implications of the life span of the foetus? Whatever the moral stances, the impact, assessing the procedures, the effects, the personal repercussions?

5.The plain visual style: real locations, natural lighting, camera movements, the audience and its observation, fly-on-the-wall style?

6.The structure of the film, the chapters: the long takes, the set pieces, their effect? The cumulative effect, the gruelling experience?

7.The 1987 setting, the university dorm, the limitations, rations, electricity, gas, black market? The squalid aspects – and the attempts at modernity?

8.The opening, Gabita and Otilia, on and off screen, the fixed camera, the detail of the packing, the cleaning of the room, real time? Gabita and her hesitations, her father’s coming, packing, her study notes, the plastic? Otilia as practical, going to the showers, getting the hairdryer, going to the rooms, talking with the women, buying the cigarettes and the soap, getting ready? The students, the preparation for exams? The audience puzzled as to where this was leading?

9.Otilia going to the hotel, the booking, it not being there, arguing? Her going to the other hotel, trying to persuade, getting the room, the higher costs? Issues of keys, IDs? Phoning Gabita? Going to her boyfriend, his exam, their discussions, the tensions, his wanting her to come to his mother’s birthday party, her hesitance? Her going to meet Mr Bebe, the arguments, going in the car, to the hotel?

10.The hotel sequence: the two women, the abortionist, his presence, giving in his ID at the desk, the wrong hotel, his manner? Personality, objective, saying he was married with children? Accusing the girls? His great attention to detail, their not fulfilling the requirements, the risk? His intimidating them, the issues of money? The girls’ lies? His rules? Giving them time for agreeing to the abortion or not? Gabita being desperate? The risks, their fears, the discussion? Gabita’s lies about the term of her pregnancy (and the reason given to Otilia)? The sex and the effect on Otilia, cleaning herself? Giving herself for her friend’s sake, the repercussions for the rest of the night? The detailed look at the procedures? Knowledge of the penalties? The warning to Gabita to lie still, the details of the procedure for the foetus, for disposal? Audience response to this? Men? Women?

11.Gabita and the effect of the procedure, feeling exposed, the pain, covering herself, having to lie still?

12.Otilia, the aftermath, her hurrying to the boyfriend’s house, upset, not bringing the flowers, his reprimands, his friendly mother? Persuading her to stay? The set piece of the dinner, Otilia centre-screen, the talk going on all around her (and all done in a single take)? Reminiscences about the old days, gossip, ideology, young people smoking cigarettes and lacking respect …? Her feelings, anger, detachment? The toast?

13.The argument with the boyfriend, wanting to phone Gabita, discussing if she were pregnant, his behaviour, his attitude towards abortion, his apology and her demanding why he was apologising? Her leaving, leaving him at the lift?

14.The sketch of the boyfriend, his mother, father, the guests?

15.The nightmare of the disposal of the foetus, Otilia going back, the close-up on the bathroom floor? The bag? In the night, the loneliness, isolation, the man following her, her asking him about bus stops, no taxis, her going into the building, the disposal unit? Trying to dispose of the foetus in the bin, the dogs? The warnings of the abortionist? Gabita wanting the foetus to be buried?

16.Her return, her fears, no key, Gabita downstairs eating, the wedding going on, the talk between the two women, the revelation of the lies, the reasons for Gabita and her behaviour, dependence on Otilia, not thinking? The decision never to talk about this again?

17.The total effect – and a perception of human nature, human beings, struggles, decisions, morality?

28 WEEKS LATER

UK, 2007, 108 minutes, Colour.
Robert Carlyle, Rose Byrne, Jeremy Renner, Harry Perrineau, Catherine Mc Cormack.
Directed by Juan Carlos Fresnadillo.

It seems to me quite a while since I found myself watching a film in which my hands and arms and my legs kept so tense, conscious that the impact of the film was having such a physical (and visceral) effect on me. 28 Weeks Later is quite an achievement in presenting movie horror and terror.

This is the sequel to the surprisingly successful 28 Weeks of 2002 where a ‘rage virus’ has been let loose on the population of England and a British ‘living dead’ are on the rampage with isolated individuals and groups desperate for survival. The British military offers help – but that turns out to be an illusion.

Director Danny Boyle and writer Alex Garland become involved in their very successful Sunshine, so took on a group of Spanish film-makers to come to England to make this sequel. (Boyle did do some Second Unit direction and he and Garland collaborated with the writers.) The sequel is an authentic follow-up in the spirit of the original – which has been highly admired as reinvigorating the vampire genre. This one reinvigorates the living dead genre.

It starts darkly, just over six months since the first film ended. Some refugees (especially husband and wife, Robert Carlyle and Catherine McCormack) are in hiding from the rampaging rage creatures. Tragedy strikes as the refuge is broken into and the husband flees, leaving the wife behind.

In the meantime, American authorities and military have been sent in as an occupying force to pacify the situation and rebuild society (though the screenplay never mentions the name Iraq – it is simply for the audience to think it). London is cleared and a small number of people are allowed back in (via security at airports which will look familiar enough to contemporary travellers). The daughter and son of the husband and wife come back home. Quarantined, they slip out of custody, breaking curfew and boundaries and visit their home – only to find their mother still alive. Her genetic makeup means she is a carrier but is not transformed. This has been passed on to her son. The father, declared well, has become a security guard.

As might be guessed, this precipitates a new crisis with repeats of infection, crowd panic, escapes, pursuits and elimination with extreme prejudice.

The final group consists of the two children, a sympathetic military nurse (Rose Byrne) and an American soldier who cannot kill any longer (Jeremy Renner). His contact is a helicopter pilot who could rescue them (Harold Perrineau). Since they left the Isle of Dogs and Canary Wharf and have to make their way to Regents Part for the rendezvous, the chase takes the group through a deserted central London (as did the opening of the original film). The aerial photography of London makes the city a character, reinforced as the group make their way over the Thames, through Trafalgar Square and Shaftsbury Avenue and, especially, with rifle green night light for sighting to Regents Park. The climax occurs at the new Wembley Stadium.

The pace is constant, editing effectively intense, scare and fright continuous. The special effects are gory at times and the makers seem to be showing off, flaunting (as well they might) their skills. However, unlike so many American films of this kind which exploit the violence and the usual young-adults-whom-you-wouldn’t-want-to-know-in-real-life in grizzly peril, this film is intelligent in its approach and, given the apocalyptic scenario, offers credible characters and situations.

Without giving away the ending, can one now expect Vingt-huits mois plus tard?

1.The impact of the first film? Cult status? Recreating the zombie, living dead genre? The sequel as equal? The connections?

2.The British horror tradition, combined with the Spanish tradition? Contrasting with the American style? An intelligence behind the film rather than box office exploitation? The universal interest?

3.The visual impact of the film, tension, shocks, sense of realism? The special effects – and the blatant use of the effects? Audience response? The musical score?

4.The basis of the story, its plausibility, the virus, the rage infection, the results, the living dead, anger, pursuit of the innocent, destruction? The need for eradication? The firing on the infected, the possibilities of an antidote, the nature of the carriers?

5.The connection with the first film, twenty-eight weeks later and the resume of the previous story? Peace? The return of the inhabitants, the plan for rebuilding London and life, the needs for security, the techniques at airports? The quarantine?

6.An American occupation, for rebuilding? Iraq not explicitly mentioned – but behind the screenplay? Rebuilding, American control, mistakes, the personnel and their qualities, ordinary Americans, types, the commanders and the responsibilities, helicopter flyers, snipers? The need for research? Decision-making?

7.The prologue, the small group, sharing the meal, no light, the husband and wife, the old couple, the girl wanting her boyfriend to arrive, the husband and wife and their being glad that their children were safe? The attack, the wall, the daylight, the father and his running away, the wife at the window, her gaze, her being taken by the infected? His escape, the boat, selfishness, the struggle with the boat? Giving a tone for the film? Audience shock at the husband’s behaviour?

8.The children, their return, arriving at the airport, the security, the importance of the boy’s eyes, his being a carrier? Her being held, examined? Meeting their father, his story about their mother’s death? His being a security guard? Their being quarantined, their decision to get out and find their home?

9.The characters of brother and sister, strengths, their dependence, the impact of the events? Their getting out, evading security, yet their being watched? Their father and his being upset? The bike, going to the house, the sadness, discovering their mother alive? Their being caught, quarantined again, the mother taken to the laboratory? The husband, his apologising to the children about the story? Going in to his wife, his apology, kissing her – and being affected, infected by rage?

10.The consequences of the new infection, the crowds, the loss of control? People afraid, panicking, crowds, escaping? The children trying to escape? The investigator and her dealing with them at security, sympathy for them, wanting the antidote? Their teaming up with her? The young soldier, his friendship with the helicopter pilot, firing on the crowds – his having the children in his sights, unable to fire any longer? His moving with the crowd? The children being separated, hiding, skills in surviving, finding each other?

11.The picture of London, empty, its look, the helicopter sequences, the overviews?

12.The decision to fire on the people, the American loss of control, indiscriminate shooting, the victims? The killings, the setting fire to the sector? It being consumed, the mother and her being consumed by the fire? The confrontation with the father, his death?

13.Rose Byrne and her help, Jeremy Renner and his decision? Coping with the panic, hiding, getting the children together? The ingenuity with the escape? Evading the pursuers? Going through the familiar streets, across the Thames, Shaftesbury Avenue, Trafalgar Square? Their going down into the Underground, the use of the night light, the darkness, the chase, the railway lines? Rose Byrne and her getting the car, taking them to Wembley Stadium for the rendezvous?

14.The helicopter pilot, his character, keeping in touch, following them through, the rendezvous at Wembley? The pursuing infected people, their being mown down? The group getting to the gates? Regent’s Park – the infected, having to go further?

15.Rose Byrne and her being killed, Jeremy Renner and his trying to save the group, his death? The man following and his being killed?

16.The final rescue, the timing? Their being taken to safety, to France?

17.The ending and the infection in Paris? Ready for a sequel?

THE HOME SONG STORIES

Australia, 2007, 104 minutes, Colour.
Joan Chen, Joel Lok, Steve Vidler, Kerry Walker.
Directed by Tony Ayres.

If you google Tony Ayres, you will find an article from The Age by Anne Crawford (April 4th, 2003), ‘Going Beyond the Pale’. She gives an overview of his life: his unstable mother, a Hong Kong singer who married an Australian sailor and came to live in Melbourne, walking out on him and going to Sydney, eventually returning to Melbourne. She was suicidal and ultimately successful. She had her two children, a boy and a girl always in tow. At the end of the article, she mentions that Ayres was starting work on a new film, Home Song Stories. Over four years later, the film is being released. And Anne Crawford’s biographical summary is almost exactly a brief synopsis of the film.

Ayres had directed Walking on Water, a sensitive film about a young man dying of AIDS. Home Song Stories is written and directed by him. He invests a great deal of energy into this portrait of his mother and of himself as a little boy.

The fascinating aspect of this memoir is the characterisation of the young boy, Tom (Joel Lok). Much of the action is shown from his point of view. At other times, the camera is focused on his face, often Orientally impassive, but now and again revealing, especially through his eyes, both his gaze and his glances, that he sees clearly what is going on. This is especially true of his appraisal of his mother (Joan Chen), of her relationship with young local waiter, Joe. The audience is invited to share his emotional and mental judgments.

It is dangerous to speculate too deeply on the psychology of a pre-adolescent child. However, the portrait of Tom is so well done that it is difficult to resist the temptation.

In The Home Song Stories, Tom is possibly ten. In terms of nurture, he has a terrible life with his crazily emotional mother. He has learned a control which manifests itself in a logical manner with outbursts of chaotic emotion: angry shouting attacks on his mother, weeping in the school toilet (weeping is something he never does) when he overhears his school friend mocking his mother).

However, it is clear from the writing and performance that Tom is an introverted boy, able to be by himself, getting energy more from his inner world than the dysfunctional outer world. Interestingly, Anne Crawford in her Age article on Tony Ayres has an insightful description of the man himself which gives a clue to Tom’s character: a self-depreciating humour and warmth – and a subversive mind.

Tom’s inner world is one of imagination and thought. We are alerted to this early by his surprising fantasy suddenly dramatised on screen: he is a martial arts warrior in conflict with a villain – who turns out to be his adoptive father’s mother with whom the family lives and who clearly disapproves of her son’s marriage as well as not understanding, or wanting to understand, Chinese manners and traditions. He vanquishes her. He will later have another fantasy with an unseen foe (which is inserted just after some difficulties with his mother’s latest boyfriend from the restaurant).

And he reads all the time, Chinese comics but also the Encyclopedia. He wants to read it from beginning to end, so that he will know everything.

The film opens and closes with Tom at his desk writing his memoirs and his often rueful tribute to his mother. This is what he knows and does best. His sister, who managed the disruption and traumas more openly than her brother, is now a psychologist. She reaches out to others in personal interaction. Tom is alive in his inner life and wants to communicate this vitality and insight.

This is a film which should fascinate Australian and Chinese audiences, an opportunity to look at race relations in retrospect as well as dysfunctional relationships.

1.The film as a memoir, the writer and his memories, writing novels, making a film? The effect for him? For audiences? For Australian audiences, Chinese?

2.Hong Kong in the 1960s, the visual style, the restaurants, the singers? Melbourne in the 1960s and 70s, Sydney? The Chinese community? The Australian suburbs? Homes, schools? The outings, the beach? The musical score – and the range of Chinese songs?

3.The title, the Hong Kong songs? Rose as a singer?

4.The story told from Tom’s perspective? His visual point of view? The film’s frequent focus on his face, his eyes, his expressions, his judgments? His voice-over? Trying to give his life some meaning? The emotional effect of his mother? The opening and his typing, the end and his typing? The picture of his mother, his sister, of himself? The adults? The photo gallery of characters during the final credits? Homage to his mother?

5.The portrait of Rose: an impossible woman, highly emotional, with a death wish? Her real story being told only at the end, the flashbacks and the revelation about her character, her background, influences? The back-story and her relationship with her mother, her being bought by Mr Sun, her relationship with his brother, the scandal, ousted, illness and death? Her going to Hong Kong, a singer, with the sailors? Bill and his love for her? Following him to Australia, the ship? Taking her two children – and her story about her earlier children’s deaths? The wedding – and her leaving Bill after a week? The Sydney years, the range of uncles, from club to club? The decision to return to Melbourne, contacting Bill, on the train, with the children, the bond with each of them, their experience of continual move, Tom and his being upset, her playing with him and his smile? Bill meeting them? Bill’s mother moving in, the arrival at the house, settling in, the Australian food and their not liking it, fixing the bead curtain, Bill’s mother looking on, their calling her an old cow in Chinese? Going out, the drinking, meeting Joe, the restaurant and her smooth talk, the bonds, Winnie and Bing? Bringing the children to eat? The friendship with Joe, the affair, the outing on the beach? Tom enjoying it? Bill’s mother and discovering what was happening, ousting them? Bing offering a dilapidated accommodation, left badly by the Australian tenants? The illegals? The rent, Joe paying? Setting up their life there, Rose and her emotions, Joe finding it heavy, playing mah-jong with his boss? Rose working at the restaurant? Friendship with Winnie? The effect on Joe and his wanting to escape? Joe driving the kids to school, flattering May, the talk about the music? The event, the movies, Rose and her anger? May and her attempted suicide, the hospital? Rose and her death wish, suicide attempts, going to the hospital, the institution, getting out? Joe and his support? Her embarrassing Tom? The schoolboy seeing her and gossiping about her afterwards? Bill and his taking the family back, his mother leaving? His going to sea again, Rose and her emotive tantrums, wanting to go back to Hong Kong, Tom and his outburst? Rose and her hanging herself? Tom and his grief?

6.The portrait of Tom, a young boy, his age, Hong Kong, going to Australia, the years in Sydney, going back to Melbourne, the train? The bonds with his mother, his exasperation, saying he could never understand her doing the things she did? His love for Bill, seeing him as a father? Settling in, his not liking the food, his mother making him eat it, pay compliments to Bill’s mother? His fantasies, martial arts hero, the combat with Bill’s mother? His later dreams of being a fighter hero? Going out to the restaurants, Joe and playing on the beach, their being ousted and his having to settle into the new place, going to school, Joe and his realising what was happening, his tensions, telling his mother about May and Joe, May’s attempted suicide, his still going to school? Rose and the pills, his exasperation with his mother, her coming home again, Joe and the effect? Bill and his coming back, the bonding with him again, the hospital, school, his mother being seen by the boy, the friendship and talk about the bike, the gossip at the school, his going into the toilet and crying? His outburst against going back to Hong Kong? His being Chinese, reading, the comics, reading the encyclopaedia so that he would know everything, his becoming an Australian, sounding Australian?

7.The portrait of May, the older daughter, her mother relying on her, back to Melbourne, school and study, homework, her settling in, the flattery by Joe, her being infatuated, playing the guitar, Tom telling on her, her attempted suicide, the hospital? Her relying on her mother? Her admiring Bill? Her mother’s suicide attempts, hospital? Her mother’s death and her weeping and grief?

8.Joe, young man, illegal, cook, the flattery from Rose, the affair, moving with them, his supporting them, paying the rent, finding it hard, Rose’s being oppressive? Going out to play mah-jong? Leaving, coming back?

9.The restaurant, Bing and his friendliness, Winnie – but their later turning on Rose?

10.Bill, a good man, Rose continually saying this? On naval leave in Hong Kong, returning to Australia, the wedding, her suddenly leaving him, his patience over seven years, his relationship with his mother, her looking after the house, receiving the family again, their settling in, leaving the money? The mother ousting them? Coming back, helping again? Rose’s death? The epilogue and the visuals of his looking after the two children until his death?

11.Bill’s mother, tough, silent, prejudiced, her looks, the bowling ladies, her being sent away at the end? Appearing as a fighter in Tom’s fantasy?

12.The Chinese background, language, customs, food? Adapting to Australia, keeping together? The second generation and their becoming Australian? Settling down?

13.The postscript and seeing Tom and May as adults, studies in Canberra, becoming a writer? May and her psychology? Never talking about their mother?

14.An emotional memoir?

MY BLUEBERRY NIGHTS

Hong Kong, 2007, 111 minutes, Colour.
Norah Jones, Jude Law, David Strathairn, Rachel Weisz, Natalie Portman.
Directed by Wong Kar Wai.

Loneliness, regrets, time wasted. Listening. Journey, trust, hope.

This is a thematic outline of My Blueberry Nights, famed Hong Kong director Wong Kar Wai’s first film made in English and in the US. Sometimes his post-action films make a great impact (In the Mood for Love, The Hand). Sometimes they get critical acclaim but come across as confused, even tedious (2046).

If you let yourself surrender to this one in the early scenes, you will have no difficulty in liking it. It will be rewarding. If you don’t, you may become irritated by its slower pace, its talk and its probing the interior lives of its central characters.

Wong Kar Wai is clearly fascinated by the United States and its people. He is also fascinated by the diversity of locations (from New York to Memphis to Nevada casinos and deserts). His film-making style is distinctive and he uses his frequent, very rich colour pallette (deep blues and reds and yellows) to paint America more brightly (even at night), than we usually see it. He diversifies camera techniques and speeds to keep jogging us on our perceptions of his characters. And the score is by Ry Cooder.

The plot consists of chapters in the journey of Lizzie who will become Beth and, finally, Elizabeth. She is played engagingly by singer Norah Jones. Distraught at the sudden break-up of a five year relationship in New York, she finds herself talking comfortably with a diner manager (a sympathetic Jude Law, as he was in The Holiday). Most of his deserts are sold out and she accepts a piece of blueberry pie – which no one has ordered. He tells her that blueberry pie is good but people make other choices.

She takes to the road and meets an anguished policeman in the Memphis bar as well as the diner where she waitresses. She listens to him. She also listens to his frustrated wife. David Strathairn and a very different Rachel Weisz are excellent. She also comes across a compulsive gambler, played vivaciously by Natalie Portman, and finds that she has become a good listener and a good friend.

It is time to go back to the beginning of the journey and know the place for the first time.

Clearly, Wong Kar Wai is also a romantic.

1.The director and his career? Acclaim? For Chinese audiences? Universal? His themes and style? Appeal?

2.A Chinese perspective on the United States? The journey, the road? Space and distance? The American road? Differences from American-style films?

3.The visual style, colours, rich and deep, bright? Night sequences and brightness? Interiors? The road, the desert? A visual and time perspective?

4.The importance of camera techniques, time-stop motion, speeding, the blur, collage? The effects of this kind of visual perception? The musical score, the songs?

5.The structure: chapters of Elizabeth’s life, the captions of days, times, distances from New York?

6.The prologue and Los Angeles, a destination, the journey fulfilled, time to return? Elizabeth’s memory – exact or not exact?

7.Themes of loneliness, regrets, waste of time? The importance of talking and listening? Trusting or not trusting? Learning hope? A romantic perspective on life?

8.Meeting Lizzie, bereft, waiting, going into the diner, the meeting with Jeremy, her angers, issues of the keys, her boyfriend, the break-up, smashing the bottle? Going to the window and looking in? Her return to the diner, her needs, loneliness, wanting to talk? The relationship of five years? An important person in her life? Cutting her off? Her staying, talking, Jeremy and his friendship, the blueberry pie, the habit of going into the diner?

9.The title, the blueberry pie and nobody choosing it, Jeremy saying people made other choices? Jeremy and his character, his theories about eating, recognising people from what they ate rather than their names? Lizzie’s eating the big pie? The smudge on Lizzie’s face, the kiss – and the recapitulation of the kiss at the end?

10.Jeremy, his skills, the opening, the description of people and their eating habits? His ability to listen? The keys, the jar, the stories of all the keys, his own story, Katya, her leaving, his coming from England and staying, wanting to run in the marathons, wanting to make a diary? His dreams? (And Katya’s later return, the kiss, wondering whether this was a dream?) The video camera and its difficulties, the fight, his blood nose, Lizzie mugged, her bleeding? Watching the videos? His staying in New York, receiving her cards, his comments, phoning the ninety diners – and telling his story, the wrong number, the wrong person? Katya’s return? Waiting for Lizzie?

11.Lizzie, the handle of the door, her not going in, her leaving, going to Memphis, meeting Travis, applying for the job, waitressing, the bar, her second job, hard work, saving money for the car? Her watching Arnie? His loneliness, talking to him, his saying it was his last night, the big tip for the car, his return, the chips from the Alcoholics Anonymous meetings? Discovering Arnie was a policeman, separation from his wife, his not accepting this? On the job, his lunch at the different diner? Lonely, talking? Seeing his wife with the men, his angers, finally confronting her after her telling him off, getting the gun, holding it on her? His driving the car, the crash?

12.Arnie’s wife, her story, Lizzie listening attentively to the story? The long take of the wife and her sadness, telling her story? Marrying at seventeen, the tensions, love, hatred? Arnie’s drinking, the regrets? Travis wanting her to pay Arnie’s tab, her finally paying it, giving the bills as souvenirs? The car, her leaving, a new beginning?

13.Leslie and her style, gambling, her glamorous look, Aloha and his surliness, her giving Beth the tip, the poker face and the game, the other players? Lizzie calling herself Beth? Working at the casino, not knowing whether it was night or day, her meal breaks? Leslie talking with her, the issue of the car, borrowing the money? Leslie and her playing, the audience not knowing the result? Giving Beth the car keys? Driving in the desert, the game about true or false statements, Leslie’s confidence, Beth not able to tell? The phone call about Leslie’s father dying, her not believing it? The night at the motel, the confidential talks? Trust? Leslie getting Beth to go into the hospital, the truth? Beth and her reaction to Leslie’s lies about her father, her grief?

14.The irony of the result, Leslie winning the money, giving the money to Beth, getting Leslie to help buy the car, the bluff about bringing down the price? Trust and hope? Each in their own car waving goodbye?

15.Lizzie, Beth, calling herself Elizabeth? The return to New York, going in to see Jeremy, better in herself, looking better, more confident? The discussions, the blueberry pie, the bond between them? Jeremy kissing her?

16.A road trip, a love story, life and truth?