User reviews

This film was given to me by a friend for two reasons: 1)she loves Gale Harold as a result of his role on "Queer as Folk" and 2)like the protagonist Lilli Black, I paint. Consequently, I wanted to like this movie, I tried to like this movie... but all I could get into was the soundtrack. I wish I could've read the music credits at the end; maybe I need a bigger TV.

The good news: There are threads of a good (movie) story that exist in this film. The camera work is great, the atmosphere compelling, the music evocative. Larry Pine and Leslie Lyles (as the Wileys, Gale Harold's parents) turn in the most honest performances. I was disappointed at the lack of depth in their storyline; there was a real start of something there.

The bad news is simple: this film tries. There is a very contrived quality that overshadows the whole film because the audience (at least this one) recognizes that the director is trying to get us to feel something. The story was full of meaning and angst, with a very unfulfilling explanation of its origins. The viewer is not allowed to come to any conclusions on their own because the whole of the movie is leading them from symbol to indicator to cliché; in short, everything people resent about bad poetry.

With all due respect, this film (for me) is a perfect argument for keeping directors on one side of the camera. Yes, it works for a select few to act and direct, but those individuals (usually) have a clear idea of who the film should be about, and foresight enough to let someone else be the star. Maybe the director made the film she set out to make. It's just possible, however, that a singular focus on directing the film would've revealed the movie's true strength: the characters who made the protagonists who they were, not the angst they forced on the world as a result. The last twenty years of pop culture have given us our fill of angst and blame, but that wounded family dynamic will hit home almost every time. It needs to be honest, though, or it turns into a poor excuse for a life-long tantrum. And nobody wants to watch a movie about that.

"Particles of Truth" is a one-woman, low budget indie which plays like one long string of trailer moments. Elsner sticks a couple of neurotic protags in front of us, asks us to care without good reason, and then proceeds to toss in anger, hate, self loathing, disgust, angst, woe, frustration, abuse, AIDS, yadayadayada, all of which all seem like excuses for drama rather than elements arising from the natural progression of a story. If you can't find something better than "Particles..." to watch, you're not trying. However, if you're an indie junkie, you may find value in this flick which did receive some positive comments from critics and all those folks who submitted comments to IMDB.com albeit suspiciously for this movie and this movie only. At this writing 64% of IMDB.com users scoring gave this film the absolute highest score, a ten, as they apparently would have us believe this film is better than "Citizen Cane" or "Gone With the Wind". Go figure. (C)

There are, it seems, prototypes for all movie genres out there: there's the teenage prototype, the romance prototype, drama, comedy, etc. The new addition to genres combines all movies under a generalization - indie - that's all-encompassing, but cheaply made.

"Particles of Truth" may be the prototype for this genre. It's got everything every other indie film professes to have: "deep" insight with cliché observations on life; bad camera work that begs for a tripod; production that demands better lighting; unheard-of music; relatively unknown actors; drugs; depressed people; funny people; trashy people; people with parent problems (esp. with the father); and the we're-weird-but-we're-really-normal-in-light-of-everyone-else main characters.

While I'm sure that some people might find "Particles" to be a careful and mind-blowing and revolutionary examination of truth, to me, it's like every other "alternative" film out there. Not only that, but its indie pretension is unbearable; the unusual camera angles that are the mark of low-budget films are irritating, and one keeps thinking, "Jesus, will somebody please stand on a table whilst holding that camera or something?" Otherwise, all the butt shots and four-foot sitting-eye-level footage really take a toll on one's patience.

I suppose that's my biggest complaint against this film: nothing about it feels original, which seems against the MO of the entire institution of indie film-making. Aren't these films, which aren't produced by big companies with big company interests, supposed to reveal something new, something that wasn't exhaustively covered by studio films like Paramount or Warner Brothers?

First the bad news: Particles of Truth is a real mope fest of self-pitying characters, each trying to out- dysfunction the other.

The main character, Lily (writer, producer, director & star Jennifer Elster) is an emotional mess because she was the product of a screwed up family (surprise!). She is an unappealing and unsympathetic character and that is the crux of the problem with the film.

Another problem is that none of this suffering is, in any way, new or interesting. We've seen all these gritty, pathetic people before. To make matters worse, some of the dialogue is cringingly pretentious.

Now the good news: Queer as Folk's Gale Harold is great as Morrison, a reclusive germ-fearing writer. He is the strongest, most likable and most realistic character in the bunch. He and Lily develop a tenuous relationship that scares her to the point of puking in his antiseptic bathroom. Despite Morrison's fears, he admits to Lily that he cares about her and proves it by venturing into the subway to find her (a germophobe's nightmare). He also manages to pull himself together to attend her art show.

There is real chemistry between Lily and Morrison and there is something endearing about watching these two people, who find it so hard to function in the world, manage to come together.

The soundtrack is great too.

Oh, and Gale Harold looks better in a shower cap than any man has a right to.

While I do not find this film obnoxious, I think it contains no more than a minimum of worthy characters and scenes. New York City is probably the only locale in which it fits. Had it been filmed in, say, Kansas City, its credibility would have been instantly suspect. Although there must be many neurotic or otherwise obsessive-compulsive people in the Midwest, the manner in which they act out would seem almost normal compared to this melange of lost souls.

Yet there is a thread of truth apparent here. Twisted lives no matter how strange can be and for the most part deserve to be capable of salvation. Because the creator of the film has had the sense to center her opus on a very traditional kind of love story, it becomes possible for the viewer to get past all the obvious and hokey situations to come to a positive if tenuous appreciation.

When you find yourself having to make excuses for the director's labored execution of an otherwise decent scene or device, however, it generally indicates less than meets the eye.

In late June, I was fortunate enough to attend the IFP Los Angeles Film Festival. I saw many films at the festival, however only one film had promise, purpose and power. "Particles of Truth" is a cinematically poetic film, which delves into humanity's weakest yet most prevalent characteristics: self-doubt and insecurity. Rarely can a film simultaneously evoke opposing emotions of joy and depression. Nevertheless, "Particles of Truth" successfully masters this formula. Director and co-star, Jennifer Elster allowed me to search my inner self. The characters are so deep and personable; I truly felt a connection to each of their fears, flaws and hopes.

I highly recommend this film to anyone who is disgusted with Hollywood's phony and artificial portrayal of life. "Particles of Truth" is a real movie, with true characters and authentic resolution.

I saw this movie a few weeks ago and found it very moving. the acting in it is superb and realistic. so realistic in fact, that it is painful at times. the plot is decent, the cinematography is good, and the writing is excellent. i identified with most of the themes in this movie (which is not a common movie-going experience for me).

it's about the very "real" lives of two people who meet and, consequently, begin to accept each others' imperfections. it is quite beautiful. the only reason i gave this movie a 7 and not an 8 or a 9 is that it drags in a few parts. but, i suppose that is more true to life.

definitely an indie worth writing home about!

I have never been a great fan of indie movies, but Particals of Truth has changed that for me. This movie showed on so many levels, the many kinds of loneliness that are all around us. The theme of alienation was painful to watch and yet it brought the characters to me. I could feel that loneliness moving like hot lava from one character to the next. Jennifer is a great talent and I consider it a privilege to have her share her experiences in her writing and direction. Gale Harold took a character that could be considered too eccentric for a indie feature, and made him so human, I could have reached out and touched him. There is in me a part of every character in Particles of Truth. It doesn't get much better than this.

Jennifer Elster and Gale Howard give beautiful performances in "Particles of Truth," a strange but compelling tale of two emotionally damaged young people who discover one another on the mean streets of bohemian Manhattan.

Lilli is an aspiring artist who suffers from grave misgivings about herself both as an artist and as a person. She finds herself unable to trust people thanks to her troubled upbringing at the hands of her dysfunctional parents. Morrison is a sensitive and talented published author who is so obsessed with cleanliness and germs that he has made himself a virtual prisoner to his apartment and car. In fact, he gathers material for his writing by cruising around town taking down what it is he believes the people around him are thinking. Haltingly, tentatively, Lilli and Morrison grope towards an understanding of one another, hoping that that will lead them to a lasting relationship.

The film, artfully written and directed by Elster herself, is chock full of meaningful moments that reflect on the fragmentation, paranoia and emotional dislocation of modern urban life. It's not only Lilli and Morrison who are filled with feelings of inadequacy and intense self-loathing, but everyone else in the film as well. These include Lilli's perpetually cheerful, intensely religious roommate (Elizabeth Van Meter, who is a dead-ringer for Shelley Duval) who uses both her disposition and her piety as a means of masking her loneliness; the roommate's boyfriend who is a crazed, borderline psychotic; Lilli's AIDS-wracked father who lies dying friendless in a dreary tenement apartment; Lilli's mother who has no emotional connection with her daughter whatsoever; Morrison's father who can't accept the humiliation of losing his job and having his son be more successful than he is; and Morrison's mother, who suffers in silence under the veneer of a devoted wife and upper class socialite. Elster's point seems to be that everyone is dysfunctional in some way or another, and that life is all about accepting the past and embracing one's weaknesses even if that means confronting one's demons in ways that are bound to cause intense emotional pain and suffering. By film's end, some of those characters have taken steps to achieving that goal while others continue to languish in their own personal prisons.

Like many well-meaning independent features, "Particles of Truth" seems a little too impressed with itself at times for its own good. Occasionally it exudes an aura of smug pretentiousness, particularly in its obsession with weirdness for weirdness' sake. The ending also seems a trifle on the pat side, although, commendably, Elster leaves a number of loose ends hanging around to reinforce the overall truthfulness of her vision.

But these are minor criticisms of a film that is, for the most part, very well acted and filled with profound insights into human nature. With "Particle of Truth," Elster proves herself a triple-threat talent who will bear serious watching.

Which means when I got to a museum and see a blotch on the wall I don't pretend it's art and say a bunch of meaningless, pseudo-intellectual prattle. By the same token, I don't have to pretend that a film lacking in continuity, a plot, good camera work and interesting characters is anything but an annoying and pretentious waste of time.

Gale, as always, is compelling to watch and draws you in....but he his work is wasted in this piece of tripe. Gale - read the script first and look for a good story.

At this point, I need a shower...and can someone smack that annoying and self-absorbed main character?

I have seen Particles of Truth when it previewed at the Tribecca Film Festival two years ago and when it appeared on the Sundance Channel this past December.

Impeccably casted, suburb acting, excellent soundtrack and not one minute of boredom is how I came up with a 10 rating for Particles.

I don't know how anyone could leave the theater without seeing themselves in at least one of the main characters. And just when things became to unbearable sad, Ms. Elster was able to sprinkle in just enough humor to lighten things up.

The worse part about Particles is that it had to end.

Hopefully Ms. Elster will be putting out some more Indies in the near future.

My TiVo automatically records shows with Gale Harold in them, and that is the only reason this movie ever even came across my radar. From the moment I started watching it to the blessed moment when the credits finally rolled, I was stunned at the sheer awfulness of this movie. It very obviously tries *so hard* to be deep and meaningful, and falls flat at every turn. The jarring and distracting camera work, "moody" insufficient lighting, and cliché-ridden plot made the film nearly unwatchable. I kept watching only because I thought maybe it would pull together by the end. It never does.

What this movie is, is a pile of disjointed plot fragments, inane dialogue, and Dysfunctional Archetype characters, lurching around for an hour and forty-five minutes. Gale, who I think is a very talented actor, was completely unbelievable as a germophobe. I blame this on writing and directing. In some situations he is shown as extreme--using an alcohol wipe to open his own medicine cabinet door, for example--but then the next second he is touching people and objects willy-nilly and not appearing to be bothered at all. It's very inconsistent and completely fails at credibility.

The "style" of the movie is to cut away from shots and scenes before the audience can figure out what they are supposed to mean, because that's "deep" and "mysterious" or something. By the end you are supposed to assemble the rubble you've been shown into some sort of cohesive unit, but not only does it not all fit together, but I was left not really caring one way or the other. It was so disjointed that I never came to care about anyone or anything being shown. Too many elements are extraneous and never used--for example the entire storyline (if you can call it that) of the roommate, which neither goes anywhere nor adds anything.

I only didn't give it one star because of the existence of "Manos, Hands of Fate" in film history.

when we seem to be inundated with them ("Friends with Money" as a more recent blight).

This film by Jennifer Elster is existential without being superficial, disjointed without being confused, and there are some good character studies, albeit in miniature.

Look for a small cameo with Mark Margolis, classically trained actor ("Scarface", "Hannibal", etc.) He is Lily Black's (Elster's) grandfather. Her father is dying from AIDS, and she has kept up a facade that all was okay in the family.

Eventually, she breaks down. There are a few parallel stories; she has a girlfriend with a psychotic boyfriend, she is interested in Morrison (well portrayed by Gale Harrold) and Larry Pine and Leslie Lyles portray an older couple, disenchanted with various issues. Pine has lost his job, his wife has learned she has breast cancer; they keep these secrets from each other.

I think some of the specific scenes are worth mentioning; Gale Harrold, as Morrison, is a young author who has obsessive compulsive disorder; we see him trying to relate in the outside world. I am wondering how often directors/photographers lift ideas from their rivals. In "Friends with Money" there is a useless scene wherein the audience is subjected to Jennifer Aniston washing her face and staring at herself in the mirror. In this movie, Morrison's character is reacting to his OCD, so the scene makes sense. In the "FWM" scene, there was absolutely no reason to give all that screen time to Aniston, other than sheer narcissism. Audiences DO notice when a character is given needless screen time.

That being said, this film has a good flow, and the acting is genuine. Also, the principals are not overly pampered celebrities, so the indie film reality issue is not destroyed by the actor's tabloid persona. 8/10.

Particles Of Truth is an intelligent and thought provoking film. I was fortunate enough to catch it on the Sundance Channel's (New Voices). I did not know what the film was going to be about but the opening sequence drew me right in. The intense subject matter, combined with Elsters ability to make me laugh, made it a hopeful ride. Rarely do i see independent films that are sincere and meaningful. This is a standout first time feature film.

"Particles of Truth" is a dull, uninspiring film with a weak storyline. The film is about Lilli a washed up artist with bad hair. She is at most unlikeable in appearance and personality. Throughout the film, Lilli is depressed and unkempt. We see why she is so: Her parents were drugged out hippie commune like folks with no direction in life and her love life stinks. Throughout the movie, Lilli meets Morrison a man who suffers from ocd. There is a possibility of a romance for Lilli and Morrison. But their scenes lack chemistry and passion. In a later scene, Lilli sees her dying father. They reconnect briefly and the film ends meaninglessly.

I was fortunate to see this movie a few times when it premiered at the Tribeca Film Festival and loved it. It's a wonderfully moving story about finding yourself and believing in your own power while at the same time, a touching and believable love story.

Jennifer Elster, the supremely talented writer, director, star of Particles of Truth is a major player in the making. Gale Harold, the star of TV's Queer as Folk is both impressive and fascinating to watch, imbuing all of his scenes with nuances and layers that make the couple sizzle with chemistry.

A great movie overall and one that upon viewing, stays with you well after you have left the theater. My friends and I discussed it for days after watching it. It's a MUST SEE.

Long and tedious, dull and boring. This seems to be the qualifiers for some independent films these days and "Particles of Truth" is the mark of how these descriptors fit. It is difficult enough to to act, much less direct, write, and "star" and Jennifer Estler is the major problem with the film. Delegate or hire. Although the disjointed stories are meant to intertwine with one cogent story emerging, the blunt edits jump between lost in Yonkers and angst amid the concrete streets of inhospitable New York. The characters themselves are less worthy of self-pity as to simply ignore them as too dysfunctional to bother with an intervention. An artist with a rough childhood, her father dying of Aids, an OCD writer, a failed architect, his wife with breast cancer, one lousy mother, alousy grandmother, and a born-again clinging room mate with a bully boyfriend. None of the stories has sufficient merit to warrant the time to sit through this film.

In need of several edits and possibly a director who is not wearing too many hats, "Particles of Truth" strains to bring forth any form of truth. With the exception of Gale Harold of "Street Time" and "Queer as Folk," performances are less that attention-grabbing although some might find this kind of film a style of restrained acting worthy of note. It's not.

While actors don't bump into the furniture, they don't bump into other characters and thus, the film fails to hit a cohesive tempo. On initial viewing I kept waiting for the actors and action to hit stride, on second viewing, the film took on an altogether student film quality. I'll pass on the third viewing.

I attended the Los Angeles Film Festival in June 2003 and saw Particles of Truth twice. It's wonderfully emotional and powerfully moving, and deserves to find a distributor so that many people can see the film, and can see how fantastic Gale Harold plays his role of Morrison, a damaged and vulnerable but ultimately strong man. Morrison keeps his distance from people by spending his time in his car, and Lilli, played by writer-director Jennifer Elster, is an artist who seems more afraid of success than of failure. The film explores the fears many of us have about reaching out and taking the great risk of giving and receiving love. I want to emphasize how beautifully Gale inhabits Morrison and conveys so much with his eyes. Even when there is no dialogue, you can absolutely see into Morrison's soul and feel his fears and determination. Jennifer Elster was amazing also, bringing so much real emotion and vulnerability to her role. The rest of the cast were great, everyone was pitch-perfect. This film is highly recommended!

A very grim effort, well acted. Larry Pine, for example, gives one of many understated performances. Taj Crown is hilarious as a stoned pizza shop worker.

I commend Elster for not letting the angst-addled script and her relative inexperience go by the wayside of over-the-top performances.

I saw it on the Sundance Channel during their New Voices night. I wish Elster the best but if I had the chance to do it again-I wouldn't.

If I want to see pain, suffering, depression and agony, I'll make a movie of my own life.

Wow, the other comments seem awfully snobbish to me. Anyhow, I liked the film, but do tend to enjoy films that fade to black frequently and I'm not perturbed by flashes of different scenes...there's a German term for it, but I forget what it is. I think maybe leitmotif's or something like that. Anyhow this film is chock-a-block full of it.

There is one gripe I have with the film. As a mature artist the main character produces paintings of scared girls or fetuses on a black background. These same paintings show up in the background in the crappy apartment where her parents get high when she was a child. And you know it's not that she could paint them at that age because they have her holding up drawings she's doing with crayons. So I dislike that.

But overall I really liked the whole film. And someone said it's not plot driven. I don't get that at all. It's a dark romance film. In the end the guy gets the girl. And there are many turns and twists along the way. And then someone else griped about a ton of people voting 10. Well I did vote a ten for it. If I bother to review a film then it usually gets at 10 or a really low score. If it's important enough to me to review a film it gets a ten. I've probably watched 200 films over the last quarter and this is the only one I felt worth reviewing. Doesn't that deserver a 10?

I've seen this film twice, and loved it even more the second time.

Jennifer Elster's artistic talents are very evident in this story of love, searching for your own truth, and ultimately opening up to the world that surrounds you. The characters and their stories are like a tapestry unfolding before you, flawed and worn, but ultimately beautiful as a whole.

Imagery is there for the taking if you choose too see it, but you're never hit over the head by it. Moments of poetry I hadn't noticed during the first viewing were little gems to be caught the second time. The characters are all well drawn, each of their lives moving the story forward. The acting is nearly flawless. The humor comes from the characters and the situations they're in. That's nice to see.

Humor for adults.

I saw this film in LA with two other artists and an agent. The dinner conversation following the viewing was about what a "find" Ms. Elster is. How excited all of us are about her talent and the talented cast.

Ms. Elster and Gale Harold give wonderfully raw performances, deceptive in their simplicity. The supporting cast each create rich memorable moments.

There's a truthfulness that is missing in most of what we get these days from Hollywood. Of all the films I've seen this year this is the only one that has stayed with me as more than a flickering image on the screen. I identified and learned from these characters. A few moments still bring tears because they felt so close to my world.

Bravo to Ms. Elster and I'm looking forward to her work in the future. I'm also looking forward to seeing this film again at a theater and during any possible viewings on a premium cable channel.

Thank you Ms. Elster. Now bring on your next project. I'm in your corner. And Hollywood...wake up. There's an audience out here waiting for the talent of women such as this.

I can't honestly say I was impressed with Gale Harold in "Queer as Folk". His acting there didn't really impress me. But he shines in this movie. He showed me what he is really capable of. As QAF finishes it's run and Gale starts working on new parts, I think a lot of people will be impressed.

The movie cuts back and forth a lot. Constantly is more like it. But after you get used to that, it's okay. It is definitely a movie you have to sit down and watch - no letting it play in the background while you do something else.

I rented this movie on a fluke. Now I'm glad I did. I strongly recommend it.

I REALLY enjoyed this movie. I hadn't heard of it, but was captured because I saw that Gale Harold was in it. I liked the weaving of Lilli's childhood moments into the current "time" and liked how they repeatedly displayed what time it was.

This movie really identified human foibles. I think most people generally lie to themselves and loved ones when trying to protect them. Each character in this movie exhibits those lies which made me feel the "realness" of it.

I didn't know until the end that the main actor Jennifer was also the writer, director and producer which makes me even more impressed with the film after the fact. This is something I would watch again however I do think it was flawed in 2 ways. One, Morrison is supposed to be OCD and have a fear of germs and if it was really acute then he wouldn't have done many of the things he did, like touch a banister and touch the girl, etc.

The other thing, one of the characters, Flora, didn't make sense to me and I didn't really understand her role except for the sake of having the Jerk Will around. Flora's character did need a little more development as to WHY she was in the film.

Anyway, overall best dose of melancholy I've seen in a long time.

I saw this movie recently at the Tribeca Film Festival in Manhattan and everything about it was amazing. The actors, the writing, the direction, the way it went back and forth between the past and the present. I didn't know it was possible to laugh and cry at the same time while watching a movie. The cast did a great job as well and now i am an even bigger fan of Gale Harold's. If this movie gets picked up (and I'm sure it will) everyone should go see it because i know you will love it.