Directed by Natalia Leite
Starring Dianna Agron, Paz De La Huerta, Chris Zylka, Louisa Krause and Paz de la Huerta
A young woman's friendship with a drug-dealing drifter evolves into a lesbian romance.
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★★★½ review by Megan_Maggot on Letterboxd
Meh. I was hoping this would be sexier/more interesting/intelligent/less cliche/more scenes including that sexy classic pick up truck
★★★½ review by Dana on Letterboxd
No way around it, I have been in love with Dianna Agron's face for the better part of 6 years now. I have sat through some god awful things because she appears for seconds, actual seconds, as a minor character (I am looking at you, Burlesque/ Romantics/ Hunters/ later seasons of Glee/virtually everything). So to have her be the actual lead in something with some substance is basically the second coming of Christ to me. She is on screen pretty much every scene, looking like an angel sent to this unworthy planet, there's some nudity done artfully enough I could barely get out my pervy cheer moves (it's for the better), some acting is done and the main take away is that every colour is Dianna Agron's colour.
Long story short, if you are a lover of the Agron, this is a solid 10/10. By any other standard it will still not be the worst movies you've seen. My rating is a mix of that.
★★★½ review by Jason Bailey on Letterboxd
A young woman (Dianna Agron) stuck in a perpetual adolescence wanders, at the suggestion of a mysterious stranger (Paz de la Huerta), into the strip club on the edge of her small town and discovers a side of herself she didn’t know she had. I know, I know, you’ve heard this one before — but writer/director Natalia Leite has a keen sense of the rhythms of these lives, and the way that someone who’s clearly trouble can seem exciting and exotic, sometimes simply by suggesting something different. As that someone, de la Huerta is sort of terrible (she’s clearly on hand more for her presence than her hazy/mushy line readings); luckily for the movie, Agron is anything but. It’s a revelatory piece of work, full of moments small and large that are less like performance than eavesdropping.
★★★½ review by riki on Letterboxd
I recently saw this for the third time (it wasn’t today but I have goldfish brain at the moment) and yeah this film is flawed but wow, Dianna really grew into Sarah’s character. I can’t tell if this was done purposely or if it was Simply dianna becoming comfortable with the role as the movie dragged on. But either way I’m impressed and I wanted to take notes at some point lmao.
At the front of the film you don’t take easily to the character of Sarah because she has no discernible characteristics ?? Shes kind of just there. It’s heartbreaking. And I think we can all identify with that. She’s been silenced by routine and ritual. She doesn’t know what she is anymore because there’s nothing left of herself that she’s feeding. She’s just serving everyone else:( anywyawow how depressing let’s move on
With time and experience separate from the people she’s grown accustomed to pleasing, adhering to, Sarah is able to free herself and grow into this world of a person that speaks her mind and takes to exposing herself openly and freely. This is beautiful. And Pepper, however neurotic, serves as a ghost-like guide to aid Sarah in her understanding of self-expression and liberation.
There are different realities than this one. They are discoverable and what more ,we can find ourselves there 🎒
★★★½ review by ashleigh on Letterboxd
can dianna only play lesbians? please my bi heart needs this
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