Rebecca Meyer is extremely shy. Every contact with other people leaves her stomach in a knot. She has just left high school and leads a very anonymous existence. The only places she feels at home are among the lost souls in the waiting room at the airport or in the crowded walkways of the shopping mall. Rebecca lives in suburb of Minneapolis with a father who works 24 hours a day and a mother who mostly uses her to alleviate her own denied solitude. The Chute family live in the same district. The 19-year-old son Greg is a skillful photographer and has just got a job as editor of a top newspaper. He is handsome, clever and full of self confidence. His cheerful sister is a photo model and an ice-skating queen. Superficially, the whole family is an exaggerated dashing paragon, with no inhibitions or secrets where everyone talks to each other about everything; above all love and sex. Greg's class-mate Denise lives on the same street, together with her single-mother Evelyn. Whilst Denise has hidden her vulnerable personality behind a wall of cynicism and sarcasm, Evelyn wears a mask of unmoved emancipation. What Rebecca, Greg, Chloe and Denise all have in common is that life is no longer a game. Childhood and the romantic spell at high school are over and the time has come for them to enter the so called ''adult world''. Greg has a relationship with Evelyn which is based upon their mutual admiration for each other's independence. Rebecca is desperately looking for a friend in Greg, whose qualities she has always admired. By chance she meets Denise and they develop a friendship which soon grows into true love. With a quiet intensity we get to follow the youngsters' attempts to find their own identities and definitions of ideas like friendship, sexuality and love. They all have to go through the painful process of reassessing and breaking with the past. This in turn forces their parents to confront the shortcomings of their own lives. As with John Cassavetes - director Jeff Lipsky's main influence - the plot is not of central importance, but the study of people and their relationships. Above all, the portraits of women are notably profound and sensitive. Childhood's End is a well acted, gripping tribute to those qualities which make each individual unique. A depiction of our search for our own place in the world and for the security that only friendship and love can provide. FS

Titel
Childhood’s End
Regissör
Jeff Lipsky
Längd
113 min
Festival
1996
Sektion
American Independents
Språk
English
Premiärstatus
Skandinavisk premiär
Produktionsår
1996
Skådespelare
Cameron Foord, Heather Gottlieb, Sam Trammell
Producent
Jason Kliot & Joana Vicente
Manus
Jeff Lipsky

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