Miss Monday

This is a excellent example of so many excellent works of Independent Cinema. It has been nominated for and won several special festival awards yet It seems to have been ignored at all levels of the film "Critical" community, Thus dooming it to near oblivion.

The writing may have flaws and some of the acting goes over the top a few times. Please remember this is not a $120,000,000 Universal Studios Blockbuster. Even with it's minor flaws It is a very surprising movie.

The story begins in a simple comedic fashion giving the viewer a false sense of security as to the probable story line. But just when the viewer thinks they have it pegged the writer and actors reveal the real message through a series of carefully constructed and well performed revelations about both main characters.

To the viewer who is willing to allow themselves to be open both intellectually and emotionally, this film may cause them to question perceptions of those around us.

I felt that the film worked on a number of levels. While it won't sate everyone's tastes. Highly recommend it to those who enjoy a well written slice-of-life story.

Finally, in a period of crisis for filmmaking, a director who knows how to handle his subject perfectly. My personal favourite for 1998 (so far).

Miss Monday is a disturbingly intelligent look at the pains of life that exist behind closed doors. What plays as a stalker/voyeur film turns into a startling and significant realization about the pain and suffering many people endure and hide from the world. The film is as honest and painful as one might hope when indulging into the core of its voyeur's subject.

A tasteful resurrection of a lost generation of Progressive Independent Filmmakers and Storyliners who realise the importance of fusion in all aspects of Film-making systems. Comedy clashes with Self-Inflicted Cruelty. A thinking flick designed to manufacture further meditation on the subject matter. Who are these guys and when do I get to see this Film again? (Only showing in Hawaii: Hawaii International Spring Film Festival) Aloha

Strongly and admittedly influenced by Polanski, the writer-- in this film featuring the writer of a film featuring the writer of a film-- enters an abject little world fraught with the possibility of violent confrontation at any moment. He is following a wise-sounding credo that tells him that by deeply portraying the individual he will reveal the type (but try to portray the type and you will reveal nothing). Does he succeed? Or does the credo, by which he hopes to portray the type, lead him ironically to a revelation of the individual?