It follows Ayef. She has no time for love because of her dream of becoming an animator. She meets Manny, and they agree to a convenient relationship that will expire on the month she is set to leave for Singapore.
Fraught with over obvious symbolism, Hartley's early feature is nonetheless a joy to watch. Hal here shows us his uncanny ability to cast his characters perfectly came early in his career.
Adrienne Shelley is a near perfect foil to herself, equal parts annoying teen burgeoning in her sexuality (though using sex for several years); obsessed with doom and inspired by idealism gone wrong she is deceptively – and simultaneously – complex and simple. Her Audrey inspires so many levels of symbolism it is almost embarrassingly rich (e.g., her modeling career beginning with photos of her foot – culminating her doing nude (but unseen) work; Manhattan move; Europe trip; her stealing, then sleeping with the mechanics wrench, etc.)
As Josh, Robert Burke gives an absolutely masterful performance. A reformed prisoner/penitent he returns to his home town to face down past demons, accept his lot and begin a new life. Dressed in black, and repeatedly mistaken for a priest, he corrects everyone ("I'm a mechanic"), yet the symbolism is rich: he abstains from alcohol, he practices celibacy (is, in fact a virgin), and seemingly has taken on vows of poverty, and humility as well. The humility seems hardest to swallow seeming, at times, almost false, a pretense. Yet, as we learn more of Josh we see genuineness in his modesty, that his humility is indeed earnest and believable. What seems ironic is the character is fairly forthright in his simplicity, yet so richly drawn it becomes the viewer who wants to make him out as more than what he actually is. A fascinatingly written character, perfectly played.
The scene between Josh and Jane (a wonderful, young Edie Falco . . . "You need a woman not a girl") is hilarious . . . real. But Hartley can't leave it as such and his trick, having the actors repeat the dialogue over-and-over becomes frustratingly "arty" and annoying . . . until again it becomes hilarious. What a terrific sense of bizarre reality this lends the film (like kids in a perpetual "am not"/"are too" argument).
Hartley's weaves all of a small neighborhood's idiosyncrasies into a tapestry of seeming stereotypes but which delves far beneath the surface, the catalyst being that everyone believes they know what the "unbelievable truth" of the title is, yet no two people can agree (including our hero) on what exactly that truth is. A wonderful little movie with some big ideas.
在监狱囚禁了5年多次抢银行的抢劫犯奴卡(杰拉尔·德帕迪约 Gérard Depardieu 饰)刑满释放了,跟他打过多次交道的警官多罗夫(皮埃尔·理查德 Pierre Richard 饰)特意来接他。多罗夫不相信奴卡能改邪归正,可奴卡放出来之后,就想痛改前非好好做人。为了生存奴卡卖掉了仅有的金银首饰准备到银行开户,不料,碰上正在持枪抢劫的弗朗索瓦劫持为人质。这时多罗夫带领警察也赶到了,他不相信长得一副窝囊相的弗朗索瓦是劫匪,认定奴卡是劫犯,奴卡有口难辨只好和弗朗索瓦逃跑。在开车逃离拉扯中弗朗索瓦不慎叩响了手枪,打中了奴卡的大腿。弗朗索瓦只好来到他父亲的老朋友兽医马丁家给奴卡取子弹,此时多罗夫也查出了抢银行的是弗朗索瓦所为。弗朗索瓦害怕被警察抓到,求奴卡帮他弄个假护照,逃到国外去。弗朗索瓦被奴卡的朋友拉迪夫勒索护照费5万法郎,因交不出遭绑架,在马丁家奴...