Kelly Lunch plays a young woman who begins the movie by attempting suicide. She is saved, and annoyed by the friends and family who visit her in the hospital, she takes off in her hospital clothes and a coat, hopping on a bus and getting off in the middle of a desert nowhere. One drunken night later, she wakes up in a house married to a stranger. Cue a whole bunch of sex scenes and psychological drama.
The film certainly aims high, with an arty tone set in the opening seconds, usin… a montage of images to show what is going through Lynch’s mind at the time of her suicide. The images make sense, but they also feel a little obvious, and that rather sums up my feelings toward the film. It has ambitions, but it is also aggravatingly pretentious, and not really good enough to measure up to its pretentions.
The soundtrack is mono. For the most part, it gets by, just. It is, however, a bit low in volume, and some of the dialogue sounds tinny, with the characters sounding very much as if they are speaking in a recording studio instead of an adobe house.
There is some minor grain here, and a bit of dirt on the print, but nothing terrible. The coloursa re good, as are the flesh tones (good thing, given how much is on display). The colours shift to almost monochrome during the hospital sequence, but this appears to be an artistic decision rather than a transfer problem. Fullscreen and widescreen options are provided.
The box describes this as an “erotic thriller.” The first term is subject to the individual viewer’s judgment. The second one is flat-out wrong.