In 1997, Amos Kollek made a movie called “Sue,” a tiny arthouse drama that surely still haunts those who were lucky enough to catch it. The unforgettable Anna Thomson played the titular lost soul, a fragile beauty who falls into a chasm of poverty.
There’s a good chance contemporary audiences will have the same response to Andrew Dosunmu’s “Where is Kyra?” — another deceptively modest indie in which an incandescent actress embodies one woman’s increasingly muted life.
Michelle Pfeiffer plays Kyra, in a bit of unexpected casting that adds a potent cruelty to an already heartbreaking story. There is no hiding Pfeiffer’s beauty, but it feels almost mocking here, like a promise held just out of reach.
Watch Video: 'Where Is Kyra?' Director on Casting Michelle Pfeiffer, Keifer Sutherland as Destitute New Yorkers
The film opens with a touching delicacy, but there are hints of inevitable loss. Kyra moved to Brooklyn to care for her aging mother (Suzanne Shepherd, “The Sopranos”), which has become an all-encompassing responsibility. And when it ends, she finds herself without any resources at all.
Looking for work becomes her work; Kyra gets up and dressed every day despite increasing evidence that her efforts will lead to nothing. Since she’s down to her last savings, she can’t afford a single mistake. But of course we all make errors constantly, tiny ones that can be fixed with just a little time, or care, or cash. These are luxuries Kyra doesn’t have.
She does find a new boyfriend in Doug (Kiefer Sutherland), who holds the only promise in her dim life. He’s sweet and thoughtful, and has recently made his own way out of a personal crisis. He’s got the perspective she needs, but calm clarity is just another extravagance for those in the midst of calamity.
Also Read: Michelle Pfeiffer Blasts Hollywood for 'Systemic' Sexual Harassment: 'I've Had Some Experiences'
Despite the high-wattage leads, Dosunmu and screenwriter Darci Picoult (who also made the excellent “Mother of George” together) have fashioned a determinedly miniscule drama. Doug is a little too movie-perfect, but Sutherland provides a crucial respite from so much misery. And Pfeiffer is here not as a luminous star but as an accomplished actor, burrowing into the dusty loneliness of her character’s life.
This is such an intimate story that cinematographer Bradford Young (“Arrival”) often shoots Pfeiffer in closeup even when she’s talking to someone else. In fact, there’s so much anxiety suffusing every scene — in Kyra’s taut face, in Young’s spare compositions, in the ominous and overwrought score (by Philip Miller) — we might as well be watching a thriller.
Also Read: Michelle Pfeiffer Says There Was Almost a Catwoman Movie Back in the '90s
When Kyra goes to the bank, or gets on the bus, or hears her doorbell ring, things that mean almost nothing to most people, there’s always potential for something to go wrong. And her margin of safety is so thin, each decision is made in the moment without concern about long-term consequences.
Doug, a health-care aide, chastises her for smoking, but we know better. Every carefully-crafted scene reminds us that Kyra is deeply unimportant in the world, according to the world. Life goes on whether she exists or not, a fact made achingly clear during a poignant visit to her ex-husband.
With no job, no family, and no backup plan, each dwindling day serves as the only protection she has between herself and an unsparing abyss. That we watch the ticking moments of “Where Is Kyra?” with so much concern is a testament to the filmmakers and cast determined to elevate her unnoticed life.
Read original story ‘Where Is Kyra?’ Film Review: Michelle Pfeiffer Shines in Dark Indie Drama At TheWrap...
There’s a good chance contemporary audiences will have the same response to Andrew Dosunmu’s “Where is Kyra?” — another deceptively modest indie in which an incandescent actress embodies one woman’s increasingly muted life.
Michelle Pfeiffer plays Kyra, in a bit of unexpected casting that adds a potent cruelty to an already heartbreaking story. There is no hiding Pfeiffer’s beauty, but it feels almost mocking here, like a promise held just out of reach.
Watch Video: 'Where Is Kyra?' Director on Casting Michelle Pfeiffer, Keifer Sutherland as Destitute New Yorkers
The film opens with a touching delicacy, but there are hints of inevitable loss. Kyra moved to Brooklyn to care for her aging mother (Suzanne Shepherd, “The Sopranos”), which has become an all-encompassing responsibility. And when it ends, she finds herself without any resources at all.
Looking for work becomes her work; Kyra gets up and dressed every day despite increasing evidence that her efforts will lead to nothing. Since she’s down to her last savings, she can’t afford a single mistake. But of course we all make errors constantly, tiny ones that can be fixed with just a little time, or care, or cash. These are luxuries Kyra doesn’t have.
She does find a new boyfriend in Doug (Kiefer Sutherland), who holds the only promise in her dim life. He’s sweet and thoughtful, and has recently made his own way out of a personal crisis. He’s got the perspective she needs, but calm clarity is just another extravagance for those in the midst of calamity.
Also Read: Michelle Pfeiffer Blasts Hollywood for 'Systemic' Sexual Harassment: 'I've Had Some Experiences'
Despite the high-wattage leads, Dosunmu and screenwriter Darci Picoult (who also made the excellent “Mother of George” together) have fashioned a determinedly miniscule drama. Doug is a little too movie-perfect, but Sutherland provides a crucial respite from so much misery. And Pfeiffer is here not as a luminous star but as an accomplished actor, burrowing into the dusty loneliness of her character’s life.
This is such an intimate story that cinematographer Bradford Young (“Arrival”) often shoots Pfeiffer in closeup even when she’s talking to someone else. In fact, there’s so much anxiety suffusing every scene — in Kyra’s taut face, in Young’s spare compositions, in the ominous and overwrought score (by Philip Miller) — we might as well be watching a thriller.
Also Read: Michelle Pfeiffer Says There Was Almost a Catwoman Movie Back in the '90s
When Kyra goes to the bank, or gets on the bus, or hears her doorbell ring, things that mean almost nothing to most people, there’s always potential for something to go wrong. And her margin of safety is so thin, each decision is made in the moment without concern about long-term consequences.
Doug, a health-care aide, chastises her for smoking, but we know better. Every carefully-crafted scene reminds us that Kyra is deeply unimportant in the world, according to the world. Life goes on whether she exists or not, a fact made achingly clear during a poignant visit to her ex-husband.
With no job, no family, and no backup plan, each dwindling day serves as the only protection she has between herself and an unsparing abyss. That we watch the ticking moments of “Where Is Kyra?” with so much concern is a testament to the filmmakers and cast determined to elevate her unnoticed life.
Read original story ‘Where Is Kyra?’ Film Review: Michelle Pfeiffer Shines in Dark Indie Drama At TheWrap...
- 4/5/2018
- by Elizabeth Weitzman
- The Wrap
Jacques Doillon’s most recent film—known in English, if it is known at all, as either The Three-Way Wedding or In the Four Winds—has never, to my knowledge, been shown in the States since its release in France in the spring of 2010. According to Jordan Montzer in Variety, Doillon’s “oeuvre reaches new heights of faux-kinky gobbledygook in [this] low-budget chamber piece.... With a pitch that could have provoked untold laughter in the hands of a Larry David, pic somberly reveals the ego-tripping, backstabbing and, well, butt-slapping that occurs when two thesps spend a day at the country home of a misanthropic playwright. What ensues is far from enjoyable, and adequate perfs won’t carry Doillon’s pretentious banter further than French ears.”
That last part may have proved to be right, but I’ve always loved the highly unusual and borderline grotesque poster for the film. I had...
That last part may have proved to be right, but I’ve always loved the highly unusual and borderline grotesque poster for the film. I had...
- 12/16/2011
- MUBI
Berlin -- Diana Elbaum and Jani Thiltges -- veteran producers from two of Europe's tiniest countries -- are the joint winners of this year's Prix Eurimages.
The prize, now in its third year, honors excellence in European co-production and takes its name from the European Council's Euroimages co-production subsidy fund.
Through her Entre Chein et Loup production house in Belgium Elbaum has co-produced European art house fare ranging from Marina de Van's psychodrama "Don't Look Back" starring Sophie Marceau and Monica Bellucci to the Pierre Paul Renders' comedy "Mr. Average" (2006) to the period drama "Saint-Cyr" (2000) featuring Isabelle Huppert. From his base in Luxembourg, Thiltges and his Samsa Film operation have delivered some 40 features, among them Ben Sombogaart's Oscar-nominee "Twin Sisters" (2002) and action comedy "Jcvd" starring Mr. Muscles from Brussels himself, Jean-Claude Van Damme.
Elbaum and Thiltges also helped form, together with Patrick Quinet, Sebastien Delloye and Claude Waringo,...
The prize, now in its third year, honors excellence in European co-production and takes its name from the European Council's Euroimages co-production subsidy fund.
Through her Entre Chein et Loup production house in Belgium Elbaum has co-produced European art house fare ranging from Marina de Van's psychodrama "Don't Look Back" starring Sophie Marceau and Monica Bellucci to the Pierre Paul Renders' comedy "Mr. Average" (2006) to the period drama "Saint-Cyr" (2000) featuring Isabelle Huppert. From his base in Luxembourg, Thiltges and his Samsa Film operation have delivered some 40 features, among them Ben Sombogaart's Oscar-nominee "Twin Sisters" (2002) and action comedy "Jcvd" starring Mr. Muscles from Brussels himself, Jean-Claude Van Damme.
Elbaum and Thiltges also helped form, together with Patrick Quinet, Sebastien Delloye and Claude Waringo,...
- 10/19/2009
- by By Scott Roxborough
- The Hollywood Reporter - Movie News
Give Amos Kollek’s Restless this much: it may be the most aptly titled film at the Toronto International Film Festival, inspiring more than one viewer to furtively check their watch. Restless aims to be the sort of big, important film that thrives on the festival circuit, the sort of film with limited theatrical prospects that nevertheless deserves support because it addresses important issues. And Kollek has a history of producing exactly that sort of film, winning awards around the globe for his earlier work, but this time out it just feels as though he is trying far too hard and the film ends up crippled by a clumsy script and far too many mediocre performances.
- 8/28/2008
- by Todd Brown
- Screen Anarchy
Toronto film festival follows Cannes' lead
TORONTO -- The Toronto International Film Festival made way for some Cannes heavyweights Thursday, unveiling Special Presentation slots for Laurent Cantet's Palme d'Or winner The Class and Matteo Garrone's Grand Prix winner Gomorrah among a group of about two dozen North American premieres.
Arnaud Desplechin's Un conte de Noel and Canadian helmer Atom Egoyan's Adoration -- both Cannes Competition titles -- also will get the red-carpet treatment in Toronto, alongside South Korean filmmaker Kim Jee-woon's Out of Competition "The Good, the Bad and the Weird."
Other Cannes entries making their Canadian splash include the Dardennes brothers' Lorna's Silence, best screenplay winner in Cannes; Jerzy Skolimowksi's Four Nights With Anna; Terence Davies' Of Time and the City; Jia Zhang-ke's 24 City; and Three Monkeys, which earned director Nuri Bilge Ceylan the best director trophy.
The quintet has been programmed as part of Toronto's Masters sidebar.
On the documentary side, films headed for Toronto include Blind Loves, from Slovakian director Juraj Lehotsky, Lisandro Alonso's Liverpool and Service, by Brillante Mendoza.
Cannes Competition titles from Brazil -- Walter Salles and Daniela Thomas' Linha de Passe and Pablo Trapero's Lion's Den -- headline a Contemporary World Cinema sidebar that includes Federico Veiroj's Acne, Bent Hamer's O'Horten, Amos Kollek's Restless and Gotz Spielmann's Revanche.
The Discovery program will feature Steve McQueen's Hunger, which earned the Camera d'Or in Cannes, U.S.
Arnaud Desplechin's Un conte de Noel and Canadian helmer Atom Egoyan's Adoration -- both Cannes Competition titles -- also will get the red-carpet treatment in Toronto, alongside South Korean filmmaker Kim Jee-woon's Out of Competition "The Good, the Bad and the Weird."
Other Cannes entries making their Canadian splash include the Dardennes brothers' Lorna's Silence, best screenplay winner in Cannes; Jerzy Skolimowksi's Four Nights With Anna; Terence Davies' Of Time and the City; Jia Zhang-ke's 24 City; and Three Monkeys, which earned director Nuri Bilge Ceylan the best director trophy.
The quintet has been programmed as part of Toronto's Masters sidebar.
On the documentary side, films headed for Toronto include Blind Loves, from Slovakian director Juraj Lehotsky, Lisandro Alonso's Liverpool and Service, by Brillante Mendoza.
Cannes Competition titles from Brazil -- Walter Salles and Daniela Thomas' Linha de Passe and Pablo Trapero's Lion's Den -- headline a Contemporary World Cinema sidebar that includes Federico Veiroj's Acne, Bent Hamer's O'Horten, Amos Kollek's Restless and Gotz Spielmann's Revanche.
The Discovery program will feature Steve McQueen's Hunger, which earned the Camera d'Or in Cannes, U.S.
- 6/26/2008
- The Hollywood Reporter - Movie News
Toronto film festival follows Cannes' lead
TORONTO -- The Toronto International Film Festival made way for some Cannes heavyweights Thursday, unveiling Special Presentation slots for Laurent Cantet's Palme d'Or winner "The Class" and Matteo Garrone's Grand Prix winner "Gomorrah" among a group of about two dozen North American premieres.
Arnaud Desplechin's "Un conte de Noel" and Canadian helmer Atom Egoyan's "Adoration" -- both Cannes Competition titles -- also will get the red-carpet treatment in Toronto, alongside South Korean filmmaker Kim Jee-woon's Out of Competition "The Good, the Bad and the Weird."
Other Cannes entries making their Canadian splash include the Dardennes brothers' "Lorna's Silence", best screenplay winner in Cannes; Jerzy Skolimowksi's "Four Nights With Anna"; Terence Davies' "Of Time and the City"; Jia Zhang-ke's "24 City"; and "Three Monkeys", which earned director Nuri Bilge Ceylan the best director trophy.
The quintet has been programmed as part of Toronto's Masters sidebar.
On the documentary side, films headed for Toronto include "Blind Loves", from Slovakian director Juraj Lehotsky, Lisandro Alonso's "Liverpool" and "Service", by Brillante Mendoza.
Cannes Competition titles from Brazil -- Walter Salles and Daniela Thomas' "Linha de Passe" and Pablo Trapero's "Lion's Den" -- headline a Contemporary World Cinema sidebar that includes Federico Veiroj's "Acne", Bent Hamer's "O'Horten", Amos Kollek's "Restless" and Gotz Spielmann's "Revanche".
The Discovery program will feature Steve McQueen's "Hunger", which earned the Camera d'Or in Cannes, U.S.
Arnaud Desplechin's "Un conte de Noel" and Canadian helmer Atom Egoyan's "Adoration" -- both Cannes Competition titles -- also will get the red-carpet treatment in Toronto, alongside South Korean filmmaker Kim Jee-woon's Out of Competition "The Good, the Bad and the Weird."
Other Cannes entries making their Canadian splash include the Dardennes brothers' "Lorna's Silence", best screenplay winner in Cannes; Jerzy Skolimowksi's "Four Nights With Anna"; Terence Davies' "Of Time and the City"; Jia Zhang-ke's "24 City"; and "Three Monkeys", which earned director Nuri Bilge Ceylan the best director trophy.
The quintet has been programmed as part of Toronto's Masters sidebar.
On the documentary side, films headed for Toronto include "Blind Loves", from Slovakian director Juraj Lehotsky, Lisandro Alonso's "Liverpool" and "Service", by Brillante Mendoza.
Cannes Competition titles from Brazil -- Walter Salles and Daniela Thomas' "Linha de Passe" and Pablo Trapero's "Lion's Den" -- headline a Contemporary World Cinema sidebar that includes Federico Veiroj's "Acne", Bent Hamer's "O'Horten", Amos Kollek's "Restless" and Gotz Spielmann's "Revanche".
The Discovery program will feature Steve McQueen's "Hunger", which earned the Camera d'Or in Cannes, U.S.
- 6/26/2008
- The Hollywood Reporter - Movie News
Berlin film festival adds competition titles
COLOGNE, Germany -- Isabel Coixet's "Elegy", an adaptation of the Philip Roth bestseller "The Dying Animal", Erick Zonca's "Julia" starring Tilda Swinton and "Sparrow", the latest crime drama from Hong Kong helmer Johnnie To are among the titles that have been picked for the competition lineup of the 2008 Berlin International Film Festival.
Also heading to Berlin are Mike Leigh's North London drama "Happy-Go-Lucky;" Robert Guediguian's French working class thriller "Lady Jane" and the politically themed drama "Restless" from Israeli Amos Kollek.
Another competition film with strong political undertones is "Heart of Fire", Luigi Florni's adaptation the biography of African child soldier Senait Mehari. The film follows the cross-over success of his "The Story of the Weeping Camel" (2003), which Florni co-directed with Mongolian filmmaker Byambasuren Davaa.
"Heart of Fire" is only the second German film to make this year's cut in Berlin, the other being Doris Dorrie's "Kirschbluten -- Hanami". Berlin fest favorite Yoji Yamada returns to the competition this year with his latest, the WWII family drama "Kabei -- Our Mother".
Italy's Antonella Grimaldi, who last appeared in Berlin's Panorama sidebar with "Bits and Pieces" in 1996, will bring his literary adaptation of Sandro Veronesi's bestseller "Quiet Chaos" to the festival.
Also heading to Berlin are Mike Leigh's North London drama "Happy-Go-Lucky;" Robert Guediguian's French working class thriller "Lady Jane" and the politically themed drama "Restless" from Israeli Amos Kollek.
Another competition film with strong political undertones is "Heart of Fire", Luigi Florni's adaptation the biography of African child soldier Senait Mehari. The film follows the cross-over success of his "The Story of the Weeping Camel" (2003), which Florni co-directed with Mongolian filmmaker Byambasuren Davaa.
"Heart of Fire" is only the second German film to make this year's cut in Berlin, the other being Doris Dorrie's "Kirschbluten -- Hanami". Berlin fest favorite Yoji Yamada returns to the competition this year with his latest, the WWII family drama "Kabei -- Our Mother".
Italy's Antonella Grimaldi, who last appeared in Berlin's Panorama sidebar with "Bits and Pieces" in 1996, will bring his literary adaptation of Sandro Veronesi's bestseller "Quiet Chaos" to the festival.
- 1/10/2008
- The Hollywood Reporter - Movie News
- Today's nine title announcement for the Berlin Festival’s main competition section (the 58th edition runs between Feb. 7-17.) is an early sign that the 2008 year in film is rich in international film from all corners of the globe and that the upcoming Cannes film festival is going to be loaded once again with heavyweight titles. Out of the titles I'm most looking forward to seeing are the little known Mike Leigh project called Happy-Go-Lucky and Erick Zonca’s French thriller Julia starring Tilda Swinton, and the postponed domestic release of Isabel Coixet’s Elegy. Here is the 9-list:Feuerherz (Heart of Fire) Germany/Austria (adapted from the bestseller by Senait Mehari) by Luigi Falorni (The Story of the Weeping Camel) with Letekidan Micael Julia France by Erick Zonca (The Dreamlife of Angels) with Tilda Swinton, Aidan Gould, Saúl Rubinek Lady Jane France By Robert Guédiguian (Le Promeneur du champ de Mars,
- 1/9/2008
- IONCINEMA.com
Variety reports that Audrey Tautou of Amelie fame will star the low-budget feature Nowhere to Go but Up, written and directed by Amos Kollek (Fast Food, Fast Women). Justin Theroux (Mulholland Drive) and Jennifer Tilly co-star in the story of an aspiring actress (Tatou) who comes to New York. Homeless on the streets, she takes up residence outside of the home of a cynical writer (Theroux). Her optimism begins to drive him crazy. StudioCanal will finance the film, now shooting in New York.
- 8/26/2002
- IMDbPro News
Cannes film review: 'Fast Food, Fast Women'
A delightfully irreverent romantic comedy about lonely people looking for love in big, impersonal New York City, Amos Kollek's "Fast Food, Fast Women" is a witty and tender crowd-tickler.
Blessed with colorful characters and vibrant performances, this agreeably fractured fairy tale should make fast friends with select-site audiences with an appetite for something fresh and sexy.
In a career-making turn, working actress Anna Thomson is a real treat to behold as Bella, a world-weary diner waitress with a looming 35th birthday that is forcing her to reassess her longtime, dead-end relationship with a married man (Austin Pendleton).
To placate her hyper-critical mother, she arranges to meet Bruno (Jamie Harris), a womanizing, cab-driving Brit whose ex-wife, unbeknownst to Bella, has just dumped their young daughter and a toddler he's never met before on his doorstep.
Meanwhile, elsewhere in the coffee shop, Paul (Robert Modica), a shy widower looking 70 squarely in the face, summons up the courage to take out a personal ad. It's answered by Emily (a superb Louise Lasser), a lively widow who keeps hoping she'll find true love and happiness but is willing to take a little amorous attention as a consolation prize.
As their stories intersect in interesting and amusing ways, Bella and Bruno and Paul and Emily ultimately have their happy ending.
After the much edgier "Sue" and "Fiona", writer-director Kollek, who divides his time between New York and Jerusalem, displays a wry, light touch here with a winning sense of humor that never undercuts the film's more heartfelt moments. And he sure knows how to pick a cast.
Drawing on New York's wealth of unsung character actors, he's come up with a heck of an ensemble. Thomson, who also appeared in Kollek's two previous pictures, is destined to attract some significant Cannes attention for her pitch-perfect portrayal of the story's emotionally bloodied but unbowed heroine.
As her elder counterpart in the dating game, Lasser makes a welcome return to the screen with a performance that is both hysterical and achingly heartfelt.
There's also standout work from a couple of second-generation actors. Jamie Harris (son of Richard) is engaging as the put-upon Bruno, while Angelica Torn (daughter of Rip and the late Geraldine Page) does a nice job as a stuttering Polish hooker with a heart of gold.
"Fast Food, Fast Women"
Ocean Films
A Lumen Films presentation
in association with
Bim Distribuzione/Pandora Films/Paradis Films/Orly Films
CREDITS:
Director-screenwriter: Amos Kollek
Producer: Hengameh Panahi
Director of photography:
Jean-Marc Fabre
Production designer: Stacey Tanner
Editor: Sheri Bylander
Costume designer: Pascal Gosset
Music: David Carbonara
CAST:
Bella: Anna Thomson
Bruno: Jamie Harris
Emily: Louise Lasser
Paul: Robert Modica
Sherry-Lynn: Lonette McKee
Seymour: Victor Argo
Vikta: Angelica Torn
George: Austin Pendleton
Running time -- 96 minutes...
Blessed with colorful characters and vibrant performances, this agreeably fractured fairy tale should make fast friends with select-site audiences with an appetite for something fresh and sexy.
In a career-making turn, working actress Anna Thomson is a real treat to behold as Bella, a world-weary diner waitress with a looming 35th birthday that is forcing her to reassess her longtime, dead-end relationship with a married man (Austin Pendleton).
To placate her hyper-critical mother, she arranges to meet Bruno (Jamie Harris), a womanizing, cab-driving Brit whose ex-wife, unbeknownst to Bella, has just dumped their young daughter and a toddler he's never met before on his doorstep.
Meanwhile, elsewhere in the coffee shop, Paul (Robert Modica), a shy widower looking 70 squarely in the face, summons up the courage to take out a personal ad. It's answered by Emily (a superb Louise Lasser), a lively widow who keeps hoping she'll find true love and happiness but is willing to take a little amorous attention as a consolation prize.
As their stories intersect in interesting and amusing ways, Bella and Bruno and Paul and Emily ultimately have their happy ending.
After the much edgier "Sue" and "Fiona", writer-director Kollek, who divides his time between New York and Jerusalem, displays a wry, light touch here with a winning sense of humor that never undercuts the film's more heartfelt moments. And he sure knows how to pick a cast.
Drawing on New York's wealth of unsung character actors, he's come up with a heck of an ensemble. Thomson, who also appeared in Kollek's two previous pictures, is destined to attract some significant Cannes attention for her pitch-perfect portrayal of the story's emotionally bloodied but unbowed heroine.
As her elder counterpart in the dating game, Lasser makes a welcome return to the screen with a performance that is both hysterical and achingly heartfelt.
There's also standout work from a couple of second-generation actors. Jamie Harris (son of Richard) is engaging as the put-upon Bruno, while Angelica Torn (daughter of Rip and the late Geraldine Page) does a nice job as a stuttering Polish hooker with a heart of gold.
"Fast Food, Fast Women"
Ocean Films
A Lumen Films presentation
in association with
Bim Distribuzione/Pandora Films/Paradis Films/Orly Films
CREDITS:
Director-screenwriter: Amos Kollek
Producer: Hengameh Panahi
Director of photography:
Jean-Marc Fabre
Production designer: Stacey Tanner
Editor: Sheri Bylander
Costume designer: Pascal Gosset
Music: David Carbonara
CAST:
Bella: Anna Thomson
Bruno: Jamie Harris
Emily: Louise Lasser
Paul: Robert Modica
Sherry-Lynn: Lonette McKee
Seymour: Victor Argo
Vikta: Angelica Torn
George: Austin Pendleton
Running time -- 96 minutes...
- 5/16/2000
- The Hollywood Reporter - Movie News
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