LOVE, SEX & EATING OF BONES (THINK FILM, 2003)

By Rick Jackson

One of the more interesting movies at this year's Kingston Canadian Film Festival is Love, Sex & Eating The Bones, a surrealistic comedy that will no doubt be an eclectic favorite for many moviegoers. Part of the film's title comes from a line in the movie, "I am here, flesh and bones," while the rest of it comes from the romantic relationship in it. After watching the first few minutes of it, I was taken aback by its bold subject, an adult movie packaged like a commercial blockbuster like Sleepless In Seattle.

Written and directed by Sudz Sutherland, from a story by Sutherland and Jennifer Holness, Love, Sex & Eating The Bones is as offbeat as it is funny. The two main cast members, Hill Harper and Marlyne N. Affleck, hold your attention after their first meeting. You want to see them together and you are not disappointed.

The plot turns are quite predictable, and much of the dialogue borders on your average daytime drama, but it is the performances that carry off the mundane to make it interesting, if you are willing to wait until the end.

Some older moviegoers may be disgusted by this film. The scenes of brief nudity and in the Pornucopia shop, and the virtual reality prostitute that comes to life in Michael's living room
may not be like anything you've seen before.

Hill Harper plays Michael, a struggling photographer who works as a security guard to make ends meet. When you first see him he is playing around with two of his fellow co‑workers and exhibiting irresponsible behaviour. He also has a sexual problem that almost ruins his chance of experiencing true love when he meets Jasmine at the neighbourhood laundromat.

Cast as Jasmine, a manager of an advertising agency, is Marlyne N. Affleck whose strong eye‑catching performance will be long remembered after the end credits roll. Her beauty almost rivals Halle Berry and let's hope we will see her in more meatier roles soon.

She tells Mike early in the film that she is celibate but that doesn't stop him from pursuing her. Impressed at the laundromat by his photographic album he carries with him, the two show sparks right away. Later on she asks him what he dreams about, an important question because she asks another man the same question with different results. His answer is his work, and being good enough to make a difference in the world.

Unbeknownst to either one of them, they both share the same feelings toward each other. She also tries to persuade Mike to do something with his photographs, to not hold back the gift he
has in the darkroom. He has a promising career if he only would get his act together and be more responsible.

The scenes of virtual reality in Mike's living room can only be perceived as part of his sexual fantasy or imagination. As he works in the darkroom there is a knock at the door; a call to feed on his carnal desires.

Sutherland uses a split screen technique when Jasmine and Mike are calling each other. It is reminscent of the old Hollywood style of moviemaking which was revived in last year's Down With Love, a tribute to the Doris Day/Rock Hudson movies of the 1950s and early 1960s.

One of the most memorable scenes in Sutherland's latest film comes near the end when Jasmine must do something to get Mike's attention and keep it. It doesn't prove quite enough, until both realize they are really in love with each other. The director is saying that in matters of the heart, this is all that matters.

Love, Sex & Eating The Bones is as offbeat as it is entertaining.

February 7, 2004