Liam O'Neill

Bloodied, barefoot, and branded like cattle, a mysterious woman wanders into a desolate frontier town with an aim to kill the son of a bitch that done her wrong.

Rock stars Peter and Seymour vie for the attention of TV actress Agnes. Agnes has a hidden connection to Roland, a deluded, dipsomaniacal office worker. Roland's boss has a disillusioned and misguided teenage daughter, whom Roland meets and latches onto as his personal savior. And guiding us through this mysterious maze of relationships are delusional bible salesman Fred and pretentious film director Sean. Sound convoluted? Deliriously, wonderfully so.

Grâce à une réflexion honnête, complétée par les idées de collègues et d'amis, Faye Dunaway contextualise sa vie et sa filmographie, mettant à nu ses luttes contre la santé mentale tout en confrontant les doubles standards auxquels elle a été soumise en tant que femme à Hollywood.

Cannes, 1999. Alice, an actress, wants to direct an indie picture. Kaz, a talkative (and maybe bogus) deal maker, promises $3 million if she'll use Millie, an aging French star. But, Rick, a big producer, needs Millie for a small part in a fall movie or he loses his star, Tom Hanks. Is Kaz for real? Can Rick sweet-talk Alice and sabotage Kaz to keep Millie from taking that deal? Millie consults with Victor, her ex, about which picture to make, Rick needs money, an ingenue named Blue is discovered, Kaz hits on Victor's new love, and Rick's factotum connects with Blue. Knives go in various backs. Wheels spin. Which deals - and pairings - will be consummated?