The main hero of the film is an electrician with a far greater effect on the people around him than his job defines. He is the last link in a huge energetic system and he becomes the binding bridge between the geopolitical problems of post-soviet space and the common people. The economic devastation of the country had an enormous impact on the industrial workers and yet despite the upheaval, these people did not seize to love and suffer, to have and be friends and to enjoy their lives… In particular our resilient electrician, who possesses a wonderful and open heart. He not only brings electric light (which is often out) to the lives of the inhabitants of this small city, but he also spreads the light of love, loyalty, life and mainly laughter.
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.
獨立電影導演保羅熱衷關懷社會議題，不同族群的真實心聲也成為他創作的靈感來源之一。但直到保羅的姪子在菲律賓總統杜特蒂發動的反毒戰爭中，被警察誤殺身亡後，他決心投身抗爭，加入人民的行列，而他的同志身分，更讓這場起義不分性別、揚起彩虹！ ☆年度話題電影，強勢入圍菲律賓影評人協會獎7項大獎 ☆《愛的誓言》《他和他的心旅程》同志名導佐薩利多奧塔利荷斯最真摯的革命宣言
Two estranged brothers come together and discover old family secrets after inheriting their grandfather's property. As their friends start to go missing, they fear they are being stalked by a creature lurking in the shadows.
