I wondered if this would be an appalling erotic thriller, but it turns out to be a weird sex comedy – the only film adaptation of culture philosopher Pascal Bruckner, with an outstanding Vangelis score. Cruise ship hottie Emmanuelle Seigner and her confessional husband Peter Coyote are weird to Hugh Grant, who finally bows out after Coyote starts going on about his wife’s clitoris. To Grant’s credit, he tells his own wife Kristin Scott Thomas the details later on. The creepy couple aggressively tries to rope Grant into their whole thing, and tell him more stories (they’re in love, doing everything, “headed for sexual bankruptcy,” he falls out of love but she won’t leave so he torments her), and Grant is convincingly standoffish about it, until he stops telling his wife the details and starts making excuses to sneak off and hear more (Coyote ditches her on vacation then gets hit by a bus, she fucks up his spine while he’s recovering then gives him a loaded gun for his birthday). Hugh thinks his reward for hearing all these perverse cruelties will be to end up with Seigner, but she sleeps with his wife instead, then Coyote shoots Seigner and himself.

Coyote would star in an Almodóvar movie the next year… Seigner was married to Polanski, returning from Frantic… Grant and Thomas a couple years before Four Weddings stardom, but well after his Lair of the White Worm.

A barely pre-covid movie set on a cruise ship, haha. Everyone gave the same description of this movie, that it’s about a writer who has to take a trip across the ocean, chooses ship travel and invites her two oldest friends, then invites her nephew to keep them occupied while the writer avoids everyone. Doesn’t sound interesting based on that, but I trusted in the actors and Soderbergh’s rep, and was rewarded with some very natural dialogue mixed with exquisite writing, and an engaging watch despite some clunky bits.

Happy to see Lucas Hedges not end up with spying lit agent Gemma Chan (soon to star in Chloe Zhao’s Eternals, which is hopefully better than The Old Guard). Happy to see Dianne Wiest for the first time in a memorable movie since Synecdoche NY. She and Candice Bergen have scores to settle, which had ultimately less payoff than the Dean Koontz stand-in getting everyone’s respect at the end. Meryl Streep’s second Soderbergh movie in a row (still haven’t checked out The Laundromat). Writer Deborah Eisenberg is a Malick associate, and Soderbergh ought to have a twisty crime drama ready to go when theaters reopen.

Piperno’s first feature is a Slow Arthouse Being John Malkvich, the least fun version imaginable of a story about discovering portals between a cruise ship, a city apartment in Uruguay, and a shed in rural Philippines.

Window Boy is a cruise ship flunky who constantly shirks his duties and has nothing going on. The woman who lives in the apartment is less afraid of the intruder than she is curious about Window Boy’s origins and wanting to use the portal herself. And the guy who discovers the shed is afraid of its power after dreaming that a snake ate his family, so plots to destroy it (but not before slaughtering some animals on-camera to summon the spirits, argh). And again… if that description sounds enticing, imagine the slowest, most uneventful version of it.

He’s not called Window Boy because he peers through ladies’ windows, that’s a red herring:

Apartment Lady would also like to visit a cruise ship: