Seventeen-year-old Anne just fell in love with Sasha, the most popular girl at her LA public high school. But when Anne tells her best friend Clifton - who has always harbored a secret crush - he does his best to get in the way.
17 year old Naama Barash enjoys alcohol, drugs and hanging out with like-minded friends. Her activities are an escape from a home where her parents always fight, and a rebellious, ... See full summary »
A personal shopper in Paris refuses to leave the city until she makes contact with her twin brother who previously died there. Her life becomes more complicated when a mysterious person contacts her via text message.
Neglected by her husband, Sarah embarks on an impromptu road trip with her young daughter and her best friend Mindy. Along the way, the dynamic between the two friends intensifies before circumstances force them apart. Years later, Sarah attempts to rebuild their intimate connection in the days before Mindy's wedding.
A new film that equals or even surpasses her landmark debut IN BETWEEN DAYS
As we celebrate the official 10th Anniversary of the mumblecore genre, it's exciting to see the only female filmmaker (to be included in the cinematic hipster scene) presenting a new film that equals or even surpasses her landmark debut IN BETWEEN DAYS (2006). This time, actress Riley Keough, who also stars in the Amy Seimetz's new Starz TV adaptation of THE GiRLFRiEND EXPERiENCE (which also premiered at Sundance this year), takes the emotional reigns with gusto as Sarah, a young mother who is completely caught off guard by the sudden reappearance of her college friend Mindy (Jena Malone).
Much like So's overlooked FOR ELLEN (2010), which Paul Dano subtly referenced in Paolo Sorrentino's YOUTH (2015), the power in LOVESONG (named after The Cure's song) lies within the character's inability to express his true feelings. Independent Spirit Awards could be on the horizon for this bundle of true love, but more importantly, make sure you see this on the big screen so that you too can be transported into the whirling clouds during what has to be the most breathtaking sequence on a ferris wheel since Carol Reed's The THiRD MAN (1948).
This is taken from my 2016 Sundance Film Festival wrap up.
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