Eternal issues of truth and illusion, real life and fiction, addressed with Henry Jaglom's customary garrulity and inexactitude: the subject matter is strong enough to survive. In a self-reflexive (or just self-conscious) storyline, Jaglom plays a Jaglomesque filmmaker who courts an attractive French journalist (Nelly Alard) at the Venice Film Festival. Afterwards she pursues him to his home in Venice, California, where she auditions for a part in his next film and at the same time reviews footage from the present film. Interspersed with this are direct-to-camera interviews with women only -- no men -- on the influence of movies on their romantic lives. (Jaglom's flattering attentions to the female sex are not without ulterior motives.) If this is self-indulgence -- and Jaglom argues explicitly that it isn't -- at least it's self-indulgence on a tight budget. (1992) — Duncan Shepherd
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