High Art

I thought this movie was absolutely beautiful.

To begin with, the cinematography was a wonderful experiment. A variety of contemporary photographers were hired to shoot individual scenes or stills used in the movie. While this device could have left us with a fragmented feeling, it worked quite well to put us in the mind of characters who work in "art" photography.

The plot was poignant and difficult. While it could have left me unsatisfied with a Hollywood ending, it took a bolder route, which in the end was much more satisfying.

I felt that the acting was quite well done. This script could have led to a lot of really dreadful mugging for the camera, but the director got very specific performances from a talented cast.

Though not as widely acclaimed as "Laurel Canyon" I thought this movie was more satisfying. If you liked Canyon, this one definitely deserves to be seen.

I am always on the lookout for good lesbian movies with good acting and they are very hard to find. High Art fills both criteria, but every time I watch this movie I feel depressed. I don't know why, especially since I don't mind "dark" movies in the least. The relationships between the characters just feel empty to me. And, I never quite know what to make of the heretofore straight girl who falls for the gay girl. It must be said that the acting is quite good, especially Patricia Clarkson as the drugged out girlfriend of Ally Sheedy. Sheedy is also fantastic as the burned out photographer Lucy Berliner. I just didn't relate to any of these characters or to their relationships with each other, and in the end did not really care who lived or died.

High Art is a 1998 Canadian-American independent film directed by Lisa Cholodenko and starring Ally Sheedy and Radha Mitchell.

Plot of the movie: Sydney (or simply "Syd"), age 24, is a woman who has her whole life mapped out in front of her. Living with longtime boyfriend James, and working her way up at the respected high-art photography magazine Frame, Syd has desires and frustrations that seem typical and manageable. But when a crack in her ceiling springs a leak and Syd finds herself knocking on the door of her upstairs neighbor, a chance meeting suddenly takes her on a new path.

Opening the door to an uncharted world for Syd is Lucy Berliner, a renowned photographer, enchanting, elusive, and curiously retired. Now 40, Lucy lives with her once glamorous, heroin-addicted German girlfriend Greta, and plays host to a collection of hard-living party kids. Syd is fascinated by Lucy and becomes drawn into the center of Lucy's strangely alluring life upstairs.

Syd mentions Lucy to her bosses (without realising that she is famous) but they remain uninterested until they realise exactly who Lucy is. At a lunch, Lucy agrees to work for the magazine as long as Syd is her editor. Soon a working relationship develops between the two and a project is underway which promises a second chance for Lucy's career. But as Syd and Lucy's collaboration draws them closer together, their working relationship turns sexual and the lines between love and professionalism suddenly blur. As Syd slowly discovers the darker truths of Lucy's life on the edge, she is forced to confront her own hunger for recognition and the uncertain rewards of public esteem.

Sweet women and an impressive lesbian theme movie.

After the trash of the past twenty or so years -- titles withheld to protect the incompetent -- someone finally makes a movie with a lesbian love angle that not only works, but shines. An exquisite performance by Ally Sheedy highlights this haunting study of a woman and the culture which ensnares her. A solid plot, likable -- if not perfect -- characters give flesh and blood to this dark character study. Added kudos to Patricia Clarkson; she took a character who tread the fine line between sympathetic and just plain pathetic and made Greta a complex, but not confusing nor inconsistent, woman. Well done, all around!

None of the characters in this film are the stereotypes you might expect, and a few of the performances are simply magnificent. Patricia Clarkson in particular probably won't be an Oscar contender, but certainly should be. The two leads are also played to perfection, and I enjoyed the film far more than I had anticipated. Definitely should not have been relegated to the art-house circuit.