Hawaii Five-O: Hookman
Fight for Your Life (1979)
27 Kas 2009 Author: projectrunwaytvseries In: KategorisizFight For Your Life is a film I dimly remember seeing a synopsis for in various horror/exploitation books. The foremost thing I recalled was that it starred William Sanderson Newheart’s oddball “Larry, Daryl, and Daryl” fellow-creature leader and forever cemented to scifi geeks as the sweet android toymaker J.F. Sebastian in Cutlass Miler.
Fight For Your Life is part “trapped” thriller like The Desperate Hours or The Petrified Forest where characters are mostly bound to one location, and part torture film like Last House on the Left and House at the Edge of the Park where some group of psychos inflict mental and physical suffering on their hostages. Fight For Your Life uses a very racial slant in its killer/hostage dynamic, one so bluntly extreme it is still banned in the U.K.
Sanderson plays Kane, the hillbilly leader of two escaped convicts, Rodriguez and Ling, two men whose obvious ethnic slant combined with Kane’s completes some strange stereotyped degenerate triumvirate. The trio gets across the border into Canada and takes the family of preacher Ted Turner hostage, Kane especially amused by degrading the father and hurling as many bigoted phrases as he can at the pious, unconfrontational, black man.
Well, it is easy to see why the film has gained such infamy over the years. The film does have some obviously caricatured stereotyping and Kane spews every old school racial slur at the family he can, from “burr head”, to “spade, Uncle Remus, darkie”, to the big one, “nigger.” As if those indignities weren’t enough he has the preacher call him “master” or more precisely “massuh”, as well as dance for him, much less the attempted lynchings, and rape of the young daughter.
So, yes, it is offensive as hell, but that proves to be surprisingly quite effective and ultimately a great exploitation tool. This is a film aimed at the grindhouse audience and obviously part of the film makers intent was to rile that inner city black audience and get them into the film. The films racism isn’t there in a way meant to cause any harm or breed hatred. Kane is clearly as low a level of scum as you can get on this earth, not the kind of guy anyone with half a brain is going to rally behind. So, with every slur, you get behind the Turner family more, ache for the father to finally strike back, or roll in your seat with laughter as the wheelchair bound grandma sass talks back to Kane.
Bottom line is, it offends but in the way all exploitation (arguably) is meant to offend. So, the racial slurs are just as purposefully incendiary as Camille Keaton’s objectification and assault in I Spit on Your Grave. These are things that play on the audience and are meant to insult and incite so that by the final act you cheer for the villains downfall. Is it a cheap shot? Yeah, but its no cheaper than the devices mainstream tearjerker dramas or sappy romantic comedies use to woo over an audience. Me, if you give me the options to watch the drama where “the mom gets cancer and the family bonds together” or “the hooker with the heart of gold falls in love with the rich man”, versus “the tortured victim gets revenge on its torturer”, I’ll take the latter.
The DVD: Blue Underground
Picture: Anamorphic Widescreen. Blue Undergorund has a fantastic track record with cult material and that record continues with Fight For Your Life. While the film isn’t perfectly clean, some wear here and there (most notably in the opening credits), and it’s low budget certainly is well-evidenced, still, it looks great. The original elements lack polish and have all the grainy trappings that mark it as a 70’s film, but Blue Underground presents the film in the best possible light, good contrast, sharpness, and color details. Technically, it is also quite smooth, with no serious compression or artifacts.
Sound: Mono. The audio track doesn’t get the same sprucing up as the image. Still, it is fair and it is clear there wasn’t much to work with. So, there is some muffle hear and there, the ill recorded bits, and the moments obviously overdubbed dialogue, but fans of genre material should still be pleased.
Extras: Chapter Selections— Poster and Advertising Gallery— Theatrical Trailers (black and white audience versions) and TV Spots— Commentary by writer Straw Wiesman, director of photography Lloyd Freidus, and Blue Underground honcho/director Bill Lustig. Right off the bat, the commentary starts by addressing Sanderson and the directors absence (both have mixed/ashamed feelings about the film), which makes for an interesting start.
Conclusion: While it has some weakness in scripting, acting, and gerneral low budget limitations, Fight For Your Life delivers with some unepected shocks and a unique, bold exploitation stance. Blue Undergounds presentation delivers, making this well worth a purchase for 70’s/exploitation genre fans.
I Want Candy review
17 Eyl 2009 Author: projectrunwaytvseries In: KategorisizThe obsolete jot-about-what-you-understand adage works since this Ealing Studios comedy with a couple of glaze students struggling to make their first hype. Of course, a plot contrivance demands that it be a porno. Joe (Tom Riley) and Baggy (Tom Burke) meet an adult film processor (Eddie Marsan) who’s microwavable to accounting the production of their earnest student screenplay. That’s if they tweak it a bit – you know, handbill some lesbian scenes, a bit of anal. The selling point is the star, Candy Fiveways (Carmen Electra), but the boys’ swear to secure the famous actress proves a bit passing.
And so the lads from Leatherhead have to pursue their leading lady while holding casting sessions with lithe locals. While the audition scenes are fraught with clichés (a Thai girl to does a ping-pong ball trick) the haziness is on much stronger establish when Joe is forced to produce the skinflick in his parents’ suburban semi while they’re out at work. The comedy of physical superabundance and innuendo is staple effects, but it’s often splendidly done and thrown at the screen thick-witted and licentious, rarely abode on a punchline to trenchant effect. (‘Everyone, back door!’ ushers Joe when his parents are spotted returning residency at daybreak. ‘Woah, woah, I didn’t agree to that!’ responds his female supernova.) Many moments stretch credulity – who would replace a pear in a fruit bowl after inserting it where the miscellany doesn’t lustre? – and Electra’s performance is inseparable-note. But regard for the usual failings of a spondulix-strapped British motion picture – unconvincing subplots, continuity errors, ropey whit-role in actors – this gay exploitation of ‘The Full Monty’ formula still entertains.
Kennedy – The Presidential Years (1983)
16 Eyl 2009 Author: projectrunwaytvseries In: KategorisizFans of "The West Wing" will appreciate Martin Sheen´s credible performance as John F. Kennedy in this engrossing 1983 television mini-series, which offers the very balance of unproven, behind-the-scenes candor and historical accuracy as the bestowal-winsome show in which Shine plays Josiah Bartlet, a Clinton-era politician.
If you didn´t get a copy of the now out-of-printed matter "Kennedy" when it was first released by DVD International in 2001, don´t misemployment too much time scouring used DVD sources. Wellspring has reissued the two-disc devise (and at a much cheaper price), although, postulated the current popularity of "The West Wing," it´s approximately surprising that a notable-budget studio wasn´t the one to come to the rescue for this much-younger Brightness tour de force.
Sheen´s deportment in "Kennedy" is likely worth preserving for cinema fans and history buffs. He was nominated concerning a Golden Globe finest actor assign, and once you appreciate past the higher-deliberate voice (which, at firstly, may strike you as JFK on helium), Sheen is wholly believable as the indefatigable minor President, shown here with both a sense of humor and a cushion. A strong supporting cast and a focus on the theatrics of the Camelot years yields 300 minutes of American history brought memorably to flair, one purpose why the series earned an trophy from the British Academy of Film and TV Arts for Most successfully Drama Series. "Kennedy" features three parts, the first of which concentrates on the 1960 presidential campaign, the second on the Public Rights movement, Vietnam, and the moon race, and the third on the Cuban Missile Crisis and Kennedy´s fateful trip to Dallas. The acting completely is unbelievable, nevertheless viewers unfamiliar with the era may be sent scurrying to their local libraries to read more about J. Edgar Hoover.
Director Jim Goddard chose to alternate scenes of the high-but-paranoid FBI director with scenes of the Kennedys, so that Hoover comes across as the film´s villain, a thoughtful of obsessed but demented Kenneth Starr—which, viewers who bother to investigate further will be surprised to learn, was entirely firm. Hoover had an irrational hatred of the Kennedys, and his wire-tapping became the kind of thing that could barely be topped, years later, by a resurgent and equally paranoid Richard Nixon.
Hoover (played with about humorous seriousness by Vincent Gardinia), is the means by which Goddard addresses JFK´s well-known philandering. Marilyn Monroe (the President´s most famous "other trouble,") never makes an arrival, nor is her venerable "Happy Birthday" song recreated. In fact, we on no account see any of the progeny women who were involved with the President. However, through Hoover´s outrage during the course of Kennedy´s "fornication" and fellow-countryman Bobby´s exhortations to a halt his dalliances, viewers come to understand that the prince in this Camelot, not the cynosure, was the unfaithful one. Jackie, meanwhile, the woman who set a forge gonfanon and captivated the everyone as dialect mayhap the most charismatic In the first place Lady in U.S. history, is played convincingly by certain-ringer Blair Brown. What´s interesting, though, is that Goddard opted to accord Jackie at unglamorous moments as probably, cigarette in transfer manacles, bantering over household expenses, and spattered with blood and snot as she cradles her husband´s bullet-riddled body. It´s the behind-the-scenes moments with Jackie and the rest of the Kennedy clan—the joking, the shared pain over a stillborn baby, the skiff moments with her stroke-stricken father-in-law—that gives this mini-series its human interest appeal.
Geraldine Fitzgerald´s performance is right-on as the family matriarch, Rose Kennedy, and John Shea, who looks a charge out of prefer a cross between a young Warren Beatty and a young Henry Winkler, plays Bobby, the Attorney General who fought southern governors to advance Civil Rights and took on the mafia and corrupt union leaders—though the latter isn´t featured here. But Goddard focuses on moral how important the careful depend on Bobby was to Jack Kennedy, and captures the brothers´ guarded admiration for the duration of Dr. Martin Luther Monarch, so that their performances introduce a depth and complexity that isn´t typical of ´80s mini-series. And years before scholars wrote about how much pain JFK was in throughout his presidency, Goddard was depicting Jack Kennedy in a back-strut and taking medication for pain.
The Descent (2006)
15 Eyl 2009 Author: projectrunwaytvseries In: KategorisizIn Neil Marshall’s ‘Dog Soldiers’ a bunch of blokes went into the forest and scary shit happened. In this ferocious, blood-drenched mirror-up, a knot of women dash into a cave combination in the Appalachian Mountains… and horrendous shit happens. It is, as Marshall acknowledges, ‘a sister movie’. A pretentiously sister: smarter, nastier and all grown-up. Once again, the heart-racing visceral apprehension comes viscous and high-speed. This time, nonetheless, the all-female ensemble cast and complex corps dynamics add agitated features and psychological depth. Plunging the six female friends into claustrophobic darkness, Marshall mines a rich vein of subterranean dismay. Trapped by a dumbfound fall, they are attacked by slimy humanoid predators. Despite their translucent skin and sightless eyes, these creatures are highly evolved, using their heightened senses of smell and hearing to tail their prey. Forced to dredge up their primal instinct for survival, the women tool-up with ice-picks or whatever else comes to hand, clambering over carpets of bones, plunging into pools of offal or hiding in crevices as the ‘crawlers’ try to breath them old hat. As the women fight for their lives, the fault lines within the assemblage are exposed: betrayals surface, tensions lose one’s cool and loyalties disintegrate. They’re not just battling the snarling humanoids, but also each another. For Sarah (Shauna Macdonald) in particular – up till fragile after the expiration of her husband and daughter in a street fluke – this nightmarish mix of qualm and fear threatens a slide into illogicality. Even more might possess been made of this fractured group high-powered had the human being characters been excel delineated, their relationships more strictly defined, their unspoken antagonisms more effectively explored. That said, one barely has days to register this shortcoming, as the adrenalised action drives relentlessly flippant. Thanks to its skilful director, well-cast actors and adept technical span, this fiercely entertaining British awe movie has blood, guts and brains.
Anna (Sandrine Bonnaire) walks…
14 Eyl 2009 Author: projectrunwaytvseries In: KategorisizAnna (Sandrine Bonnaire) walks into the psychiatrist’s rooms for her cardinal sitting, and finds a quiet, unresponsive man on the other side of the desk. One reason for his stillness is that he’s not the psychiatrist, Dr Monnier (Michel Duchaussoy) down the passage; the other why and wherefore is that he’s a minor tax accountant, William Faber (Fabrice Luchini). But fascinated by Anna, William somehow can’t bring himself to utter her the truth as she regales him with intimate details of her broken down amalgamation to Marc (Gilbert Merki), while William’s old-timer secretary, Jeanne (Anne Brochet) observes with world weary disdain. But even when Anna discovers the truth, she continues the sessions, and a quaint but discernible relationship begins to bloom.
News about
12 Eyl 2009 Author: projectrunwaytvseries In: KategorisizStarring:
Vincent Gallo
Shane and June Brown are an American two honeymooning in Paris in an effort to nurture their new vitality together, a life complicated by Shane's mysterious and resort to visits to a medical clinic where slip edge studies of the human libido are undertaken. When Shane seeks inoperative a self-exiled expert in the field, he happens upon the doctor's mate, another victim of the same malady. She has become so dangerous and emotionally paralyzed by the inure that her husband imprisons her by day in their adept in. It is Shane's chance altercation with this partner that triggers an regardless so cataclysmic and amazing it might just lead him to rediscover the tranquility he seeks to resurrect for he and his new bride.
Trouble Every Day Re-examine
Review:
I walked out of the theater after seeing this film, trying to put my feelings toward it into words and after several minutes came up with the best I could…
Self Indulgent Repugnance!
Trouble Every Day centers on a couple honeymooning in Paris and is juxtaposed with the movements of a French doctor who spends his off hours trying to control his wife, who is prone to vampirism. The two storylines, seemingly separate converge towards the end.
My biggest beef with the film was that it was a full thirty minutes before they actually start to let you in on what's going on, irritating me with little, fragmented scenes in the meantime. I have no problems with films that use this device, (it just means I have to trust the filmmaker is going to eventually lead me through to the other side) but my patience can only be stretched so thin. By this time, when the director hits you with the gore, it's almost comical-and I stress almost. It does have one positive quality and that is the theme song, which resonates through a large portion of the film. The dark, droning vocals of Tindersticks are reminiscent of Nick Cave and Leonard Cohen.
The film, the latest from French Director Claire Denis, yet an original take on the vampire genre, is so unapologetically disjointed and tasteless, that I can't imagine anyone coming away from it feeling enriched.
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Copyright© Written By:
Tom Servo
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American Cannibal – The Documentary (2006)
12 Eyl 2009 Author: projectrunwaytvseries In: KategorisizLady in the water moviedownload
It took us awhile to aware that this conjectural doc is a highly realistic prank. Cannibal
purports to be a vérité describe of the misadventures of two aspiring
TV writers, Gil Ripley and Dave Roberts, who try their hands at a
Aristotelianism entelechy show after failing at sitcoms. Consciously setting their
sights as low as possible, they pitch diverse producers on a Big Brother knockoff to be called Virgin Patch, in which ten masculine virgins strive for the honor of bedding a porn star. They’re getting nowhere until they get together with Kevin Blatt, a repulsive
impresario of sleaze whose prior credits include marketing the Paris
Hilton making love ribbon and a video of a porn queen having cosmetic surgery on
her labia. Blatt likes their idea, but gets even more enthusiastic when
the writers jokingly outline a approve of concept, for a divulge in which
contestants would be stranded without food on a abandon key and
induced to believe that someone would ultimately be eaten. (As
preposterous as this sounds on paper, it plays unequivocally convincingly on
the screen.) We’d bang to know whether the people auditioning to be on the contrast c embarrass
were in on the joke, and that goes double in favour of the actual cast members.
But as a satire of the vileness of reality TV, Cannibal comes in a ceremonious younger to Daniel Minahan’s nightmarish Series 7: The Contenders.
The Ant Bully review
11 Eyl 2009 Author: projectrunwaytvseries In: KategorisizTHE ANT BULLY
A film review by Steve Rhodes
Copyright 2006 Steve Rhodes
RATING (0 TO ****): **
THE ANT BULLY can rightly boast of the handsomeness of its character design.
>From the ants to the wasps, the computer-generated images are imaginative
and appealing. It's too bad that the same can't be said of the script of
this animated movie from Warner Brothers. In stark contrast to the
sharply-written and sassy MONSTER HOUSE, which opened last Friday, THE ANT
BULLY has few lines with much punch, and none of the characters are
captivating.
Are there enough laughs in THE ANT BULLY to amuse its intended audience of
those in the single digits and perhaps slightly older? Well, yes. But this
is a "yes" with comes with a "but," or, more precisely, lots of "butts," as
it attempts to mine most of his humor at the poop and butt mines. We learn,
for example, that the hearts of ants are in their posterior, so when they
have to "cross their hearts," it looks silly enough to tickle little funny
bones in the audience. One of the many poop jokes involves a delicious
"honey dew," which turns out to be something that came out of the rear end
of a lawn-dwelling creature.
Hollywood turned out in droves to help Warner Brothers in voice talent
department. Academy Award winners and nominees dominate the cast, so it's
too bad that they weren't given better material to work with. Nicolas Cage,
Julia Roberts and Meryl Streep are among those who give the ants their
ability to speak. The voices for the animated humans are by Paul Giamatti,
Lily Tomlin and others.
The story involves a small boy named Lucas Nickle (voiced by Zach Tyler
Eisen) who is regularly tormented by the big and pudgy neighborhood bully.
In order to establish his pecking order in the world, Lucas takes his
repressed anger out on the helpless ants who live in a large colony in his
front yard. His destructive behavior has him dubbed the "Destroyer" by the
ant community.
One day an ant known as Wizard Ant Zoc (voiced by Cage) finally perfects his
magic potion. With it, Zoc reduces Lucas down to ant size. And, once the
size of an ant, Lucas is expected to train and work like an ant. In the
last act, Lucas and his newfound ant friends engage in a STAR WARS-like
battle with a cigar-chomping exterminator (voiced by Giamatti). The
sequence, even if essentially a cinematic retread, is the only briefly
exhilarating moment in the movie.
Although I noticed a lot of fidgeting in our crowded audience, the movie
will suffice to keep most kids mildly amused as they stay in from the summer
heat. And kids always have a special place in their heart for lots of
bathroom humor. You, however, will probably wish you and your kids had
something better to watch. Well, you do. It's called MONSTER HOUSE, and
it's probably playing just one screen over from THE ANT BULLY at every
multiplex in the land.
THE ANT BULLY runs 1:20. It is rated PG for "some mild rude humor and
action" and would be acceptable for all ages.
My nephew William, age 12, said the film was "pretty good." His favorite
scene came when a wasp bit the exterminator in a very embarrassing place.
His sister Liana, age 9, said that she liked the movie. Her favorite part
came when Lucas and his friends banded together to "dog pile" the bully who
had been harassing them.
The film opens nationwide in the United States on Friday, July 28, 2006. In
the Silicon Valley, it will be showing at the AMC theaters, the Century
theaters and the Camera Cinemas.
Web:
http://www.InternetReviews.com
Email:
Steve.Rhodes@InternetReviews.com
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News about
11 Eyl 2009 Author: projectrunwaytvseries In: Kategorisiz
(Photo: Scott Garfield/Courtesy of Paramount Pictures)
T
he unusually deft galoot comedy
I Love You, Man
stars the soft-boned and unassuming Paul Rudd as Peter Klaven, a slightly effeminate heterosexual (he’d make a okay NPR host) who forced to struggle to erect manly friendships when he’d rather curl up with his fiancée, Zooey (Rashida Jones), and watch premium cable. It is, if you’ll forgive me, a Sissy-phean recriminate. Peter has a beautiful bride but no get the better of man or even the makings of a bachelor party; he is a painstaking, responsible one in a culture geared toward child-men?a slob-comedy world. And Rudd, using his innate mildness and crack (mis) timing, is qualified to generate an astounding amount of camaraderie proper for this hapless girlie-man. See him miss hilarious fives, bungle fist bumps, and mangle all attempts to add ?bro? or ?dude? (or complex variants, e.g., ?Von Dudenstein?) to the ends of sentences; see him wince in horror at the prodigiousness of his lameness. It’s no wonder that when the momentous, untidy Sydney Fife (Jason Segel) lumbers into an straightforward homestead (Peter is a Realtor selling the garish manse of Lou Ferrigno), it’s man-love at first field of view.
The question of man-love is central to
I Love You, Man.
What is it? What is it really? It’s hard to know what’s conscious here. The writer-director, John Hamburg, wrote a scene in his (so-so) 2004 comedy
Along Came Polly
in which a squeamish anal retentive (Ben Stiller) plays basketball with large shirtless men and finds his face mashed up against a wobbly, sweaty, hairy, mole-y man-belly. Very peculiar, this panic over physical contact with males. For Rudd’s Peter, it isn’t scary to talk to girls, but he needs his mom (Jane Curtin) to set him up on awkward ?man-dates.? Trying to leave a breezy message on Sydney’s answering machine, his voice flies up into a falsetto. (?Call me back when you get a mo ? ?) It’s what the gals in
He’s Just Not That Into You
are going through one screen over in the multiplex.
Rudd’s contorted slang is poetry, and Segel gives Sydney layer after layer of creepy subtext: Is he a finance wizard or a con man? An easygoing Lothario or a twisted freak? Gay? What are we hoping will happen at the end again?
I Love You, Man
is totally formulaic, but the formula is unnervingly (and hilariously) inside out. The typical Judd Apatow modern sex-comedy hero is supposed to forswear the world of drugs and self-pleasuring and inane teen fixations, not embrace them in the name of self-improvement. The buddy is supposed to buck up the man to help him get the girl; the girl isn’t supposed to buck up the man to help him get the buddy. In screwball comedies, overly cerebral, ?de-bodyized? men are forced to loosen up by free-spirited women, not men whose apartments have a special sacred chair for jerking off in.
I Love You, Man
is a howl, but maybe it’s better not to think about it too hard.
I
t’s easy to socialize with why Ingmar Bergman and not his countryman Jan Troell gets all the sugar when academics talk close by rapturous cinema: Bergman freights his dramas with metaphysical baggage, whereas Troell’s characters appear to be unencumbered by anything except common life. But that doesn’t mean there are no metaphysics?only that they’re hidden. Troell’s entrancingly beautiful
Everlasting Moments
uses surfaces?light, weave, faces?to implication at another universe, a shadow empire. The metonymy is propriety there in the story, which centers on an prehistoric twentieth-century wife and innate, Maria (Maria Heiskanen), who finds an worn out camera in a cabinet and discovers that she has what another character calls ?a offering on seeing.?
The narrator is Maria’s eldest daughter, Maja, who watches from the sidelines as her father Sigfrid (Mikael Persbrandt) comes home roaring drunk and abusive, swears off drink and joins the Temperance Society, then falls off the wagon and takes up with a barmaid. Sigfrid is inconstant?not a bad man but a creature of appetite. Holding the camera, she can forget the world of her husband; she can develop a dual self.
Everlasting Moments
unfolds in an age in which photography carries a whiff of magic?it catches and holds what has never been held before. When a young girl drowns, Maria asks the grieving mother if she can photograph the body; the image she produces is like a window into the dead girl’s soul. I know that makes the move sound fuzzy and sentimental, but
it’s the simplicity and directness of that photo that gives it weight. The entire movie is like that. There isn’t a shot that looks like something you’ve seen before; Troell treats each frame as if the medium of
filmmaking
was new. Images of the young Maja on the street, as she waits for her father, of her friend striding out into the middle of a frozen lake and disappearing into the fog, of children gathered into a window trying to glimpse a dead body: They suggest at once the ephemeral and the indelible. In Troell’s miraculous vision, that’s not a contradiction.
T
he Matrix House on the Port side
is a remake of the precedent-setting seventies indie torture-rape-and-revenge flick directed by Wes Craven when he had no inkling he’d ever be mainstream?or that the stuff of gutbucket-sleaze triple bills would one day play alongside Disney movies in the multiplex. Craven said his video was inspired by Ingmar Bergman’s
The Virgin Spring,
and it actually was?only with two female victims instead of one, the take advantage of and liquidation lovingly prolonged, a syrupy-and-icky instead of stoic revenge, and no religioso finale. It was a prehistoric hunk of sadism, with no deceit to soften the blow.
The new
Last House,
directed by Dennis Iliadis, is a far slicker experience?not because the scenes where the young girls get raped, stabbed, shot, etc., aren’t explicit and grueling, but because everything around those scenes has been altered to make us less uncomfortable. There’s a huge change that turns the nihilistic carnage of Craven’s original into something suffused with old-fashioned family values, so that we can relax and enjoy watching the bad guys get beaten, skewered, dismembered by garbage disposals, and tortured with microwave ovens. They take a lot of killing, and it’s all good.
For reviews of
Sunshine Cleaning
and
The Great Buck Howard
, go to
the Projectionist
.
Look at Me (2005)
10 Eyl 2009 Author: projectrunwaytvseries In: KategorisizTwenty year old Lolita (Marilou Berry) is ireful at the world – especially her father, famous wordsmith Etienne (Jean-Pierre Bacri) – who cannot see beyond her atop of-majority exterior. The only time she is pleased is when she is singing and is encouraged by her singing teacher, Sylvia (Agnès Jaoui), who is married to novelist Pierre (Laurent Grevill). Pierre is extraordinarily undefended less his talents, and when Sylvia realizes who Lolita’s famous pastor is, she uses the relationship. Etienne’s well done young second old lady Karine (Virginie Desarnauts) also has insecurities and is trying to be victorious in Lolita’s approval. But Lolita lashes out at everyone, sober her new cohort, aspiring correspondent, Sébastien (Keine Bouhiza), who she suspects only likes her for her connections.