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IMDbPro

Love in the Time of Money

  • 2002
  • R
  • 1h 30m
IMDb RATING
5.3/10
762
YOUR RATING
Steve Buscemi, Jill Hennessy, Rosario Dawson, Malcolm Gets, and Michael Imperioli in Love in the Time of Money (2002)
Trailer
Play trailer1:25
2 Videos
2 Photos
ComedyDramaRomance

New York serves as a backdrop for a cast of characters in search of love, lust or lucre including a woman who makes awkward moves on the man renovating her SoHo loft, an embezzler, a sleazy ... Read allNew York serves as a backdrop for a cast of characters in search of love, lust or lucre including a woman who makes awkward moves on the man renovating her SoHo loft, an embezzler, a sleazy artist and a phone psychic.New York serves as a backdrop for a cast of characters in search of love, lust or lucre including a woman who makes awkward moves on the man renovating her SoHo loft, an embezzler, a sleazy artist and a phone psychic.

  • Director
    • Peter Mattei
  • Writer
    • Peter Mattei
  • Stars
    • Vera Farmiga
    • Domenick Lombardozzi
    • Jill Hennessy
  • See production info at IMDbPro
  • IMDb RATING
    5.3/10
    762
    YOUR RATING
    • Director
      • Peter Mattei
    • Writer
      • Peter Mattei
    • Stars
      • Vera Farmiga
      • Domenick Lombardozzi
      • Jill Hennessy
    • 18User reviews
    • 12Critic reviews
    • 30Metascore
  • See production info at IMDbPro
    • Awards
      • 1 win & 2 nominations total

    Videos2

    Love in the Time of Money
    Trailer 1:25
    Love in the Time of Money
    Love in the Time of Money
    Trailer 1:24
    Love in the Time of Money
    Love in the Time of Money
    Trailer 1:24
    Love in the Time of Money

    Photos1

    View Poster

    Top cast15

    Edit
    Vera Farmiga
    Vera Farmiga
    • Greta
    Domenick Lombardozzi
    Domenick Lombardozzi
    • Eddie Iovine
    Jill Hennessy
    Jill Hennessy
    • Ellen Walker
    Malcolm Gets
    Malcolm Gets
    • Robert Walker
    Steve Buscemi
    Steve Buscemi
    • Martin Kunkle
    Rosario Dawson
    Rosario Dawson
    • Anna
    Adrian Grenier
    Adrian Grenier
    • Nick
    Carol Kane
    Carol Kane
    • Joey
    Michael Imperioli
    Michael Imperioli
    • Will
    Alexa Fischer
    Alexa Fischer
    • Elaine
    Ross Gibby
    Ross Gibby
    • Jack
    Nahanni Johnstone
    Nahanni Johnstone
    • Marianne Jones
    John Ottavino
    • Mark Jones
    Tamara Jenkins
    Tamara Jenkins
    • Gallery Owner
    Roger Hervas
    Roger Hervas
    • Cab driver
    • Director
      • Peter Mattei
    • Writer
      • Peter Mattei
    • All cast & crew
    • Production, box office & more at IMDbPro

    User reviews18

    5.3762
    1
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    10

    Featured reviews

    rmax304823

    Soft core about the little people.

    I kind of enjoyed it until I nodded out on it. The structure is that of a skin flick. Characters are linked as in La Ronde or The Leopard Man. We meet Jill Hennesy, who is a class act, no doubt about it, and isn't getting along with her husband, and so makes it with a plumber or something. (Don't worry. The sex isn't explicit and there is no nudity.) It's marvelous, though, to see Jill Hennesy, the modelesque and feminist lawyer on "Law and Order" asking some surprisingly sensitive goon who is trying to help her hang up a painting to do her a favor -- "Make love to me." Okay.

    She finds her husband, some kind of art dealer, not interested in her sexually. (!) She kisses him and tells him, "I'm horny," and he walks silently away and turns on his favorite jazz piano record, while she turns on every noisy appliance in their high-end apartment.

    So why (you ask) is the husband indifferent to her charms? What's the matter with him. Is he gay? Well -- yes. Or rather bisexual, I suppose, since he married her in the first place. But hubby's real interest is in Steve Buscemi, an artist, and he comes on to Buscemi in a rather assertive manner and tries to kiss him. I don't know why. Buscemi is a great actor and a delight to see on the screen but, my God, he's got the canines of a vampire. Buscemi gently tells him, "I'm not gay." But then there is a love scene between them. I can't tell how explicit this was because I was covering my eyes and having an attack of homosexual anxiety.

    Fortunately the next episode, involving Buscemi and Rosario Dawson, was enough to reassure me about my gender identity. Is there a greater constitutional puzzle than Rosario Dawson? Most people, at a glance, would classify her as African-American and yet she's a salad of racial genes, no more biologically "black" than "white" or "Hispanic". Something similar holds for people of mixed race like Halle Berrie and Mariah Carey. If you took all the genes of all the humans in the world and put them into a blender they would come out looking like these actresses (only more ordinary). They only belong to one or another racial classification because they -- and we -- say they do. This is known as "the social construction of reality." Now I'd like you all the read Berger and Luckman because there will be a quiz.

    Next episode: Dawson has some sort of confrontation with her handsome white boyfriend. "We have to talk about this," she says. (I'm not making that up.) It was about this point in the movie that eurythmic breathing set in.

    Anyway, you get the picture. One sexual episode leads to another, just as in a skin flick, except that here there is no nudity and any coitus we witness is simulated. In other words, in this movie, the emphasis is on the interludes between sexual encounters. And what are they like? They're like Woody Allen, that's what they're like. Ordinary little people doing ordinary little things that have to do with relationships. When Jill Hennesy and the picture-hanger are looking through a kitchen drawer for a hammer, they find there is no hammer. But Hennesy takes out one irrelevant item after another and dangles it before him? A box of staples. "No good?"

    And at the bottom of the drawer, one of those flat plastic containers from a Chinese restaurant that everyone seems to save. "Soy sauce," says the plumber.

    If it hand't been on TV at such a late hour I would probably have watched it through, although the ordinary little people, on screen or in real life, can be a little dull at time. Will Rosario Dawson reject Buscemi's appeal to let him paint her? I really didn't care except for the vague hope that we'd discover whether Rosario Dawson's figure was as mouthwatering as the rest of her.

    An unambitious movie, but nice New York locations, and the acting is quite good really. It's Hennesy's best role at any rate.
    7=G=

    Mmmm....loved the angels!

    (Question) What do you call 100 film critics buried up to their necks in sand? (Answer) A good start. Well, I don't know Peter Mattei from Adam but if he is the budding auteur his filmography suggests, "Love in the Time of Money" is a "good start". A classy shoot with whimsical music box style music, this flick looks at a chain of tenuous relationships as it moves from person A to person B to person C...etc...and back again ending with persons A & B in carousel fashion. The film gently probes the unhappy circumstances of nine people with finely rendered shadings beginning and ending with a street whore and her client. The downside of this film is the lack of a story which may have something to do with the many critical slams it received. I watched the behemoth "Angels in America" last night and was bored at the end while this little concatenation of character studies kept me spell bound. Use caution. I may be the only person who really liked this flick. (B)
    filmstudentalpha

    A vehicle for amazing performances

    "Love in the Time of Money" is a deeply affecting arthouse picture, more remarkable for the incendiary performances of its cast than for its story. Although the script is quite exceptional--namely for its delectable, believably human, dialogue--the plot revolves around some rather familiar scenarios in contemporary (arthouse) cinema, such as the hardships faced by a fledgling prostitute, the deterioration of an emotionally cold marriage, and the desperation of a troubled corporate drone. It seems almost impossible not to conjure up comparisons to "Leaving Las Vegas," "Happiness," and other bleak narratives of the same ilk. Still, writer/director Peter Mattei draws upon his background in the theatre to create complex characters and elicit staggering performances from his entire cast. The visual style of the film offers additional intrigue--gorgeous close-ups and very non-traditional (yet meaningful and mood-enhancing) framing provide proof that not all features shot on digital video are obliged to be shaky, amateurish messes (or effects-reliant space epics, for that matter). A highly promising debut feature from an exciting new cinematic talent, "Love in the Time of Money" is a low-budget gem that obviously made good use of the time and money put into it, and is certainly worth yours.
    laefrankel

    Positive, enjoyed excellent performances

    As a fan of such films as "Mulholland Drive," "Memento," and "Before the Rain," I have a predilection for films which require one to piece together clues within the plot in order to distinguish true happenings from false. Initially, "Love in the Time of Money," did not strike me as this type of film, however while driving home, the words of Carol Kane's eccentric pig-tailed telephone clairvoyant came back to me. Kane's character was suggesting that perhaps in another dimension everything is changed by something so simple as a traffic light changing color a half-second earlier. This sensibility is the essence of Mattei's film, which follows the stories of interconnected people who unknowingly affect the fate of each succeeding character. The question which the film leaves one with is: How much of this story really happened?

    There is a beautiful scene between Carol Kane, as an aged flamboyant clairvoyant who falls for the young urban Adonis, Adrien Grenier. Notable performances are also given by Steve Buscemi, who plays a struggling modern artist with quiet restraint, and by the gorgeous Rosario Dawson, who plays the conflicted muse of two men.
    5zing101

    Thought provoking -- if you perceived it as a riddle

    This movie is best watched late at night (if you can stay awake). It is 90 minutes long where the first 85 minutes are an odd and eerie sequence of scenes that seem to transfer from one character to the next in what appear to be chronological order. Then in the last 5 minutes the movie's point unfolds, and you're left with an interesting puzzle that may make you want to see it again: was the movie forward chronological, reverse chronological, disconnected, or an endless paradox that is broken in the "end", which is were the movie began? Makes me wonder if the title is a riddle, too. The first 5 minutes is also important, if you're trying to close the loop.

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    Related interests

    Will Ferrell in Anchorman: The Legend of Ron Burgundy (2004)
    Comedy
    Mahershala Ali and Alex R. Hibbert in Moonlight (2016)
    Drama
    Ingrid Bergman and Humphrey Bogart in Casablanca (1942)
    Romance

    Storyline

    Edit

    Did you know

    Edit
    • Trivia
      Inspired by "Reigen" by Arther Schnitzler
    • Quotes

      Robert Walker: Five thousand. For a kiss good night.

      Martin Kunkle: [laughs] You can get a lot more for a lot less under the West Side Highway.

    • Soundtracks
      Birdie
      Written by Angela McCluskey, Kevin Salem and Brian Kelly

      Performed by Angela McCluskey

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    FAQ19

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    Details

    Edit
    • Release date
      • January 11, 2002 (United States)
    • Country of origin
      • United States
    • Language
      • English
    • Also known as
      • Nine Scenes About Love
    • Filming locations
      • New York City, New York, USA
    • Production companies
      • Blow Up Pictures
      • Open City Films
      • Sagittaire Films
    • See more company credits at IMDbPro

    Box office

    Edit
    • Gross US & Canada
      • $10,410
    • Opening weekend US & Canada
      • $6,040
      • Nov 3, 2002
    • Gross worldwide
      • $10,410
    See detailed box office info on IMDbPro

    Tech specs

    Edit
    • Runtime
      • 1h 30m(90 min)
    • Color
      • Color
    • Sound mix
      • Dolby Digital
    • Aspect ratio
      • 1.85 : 1

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