Apparently, Eric Robertska has no job at all, once he agreed. Each of the characters has their own ways to hide neuroses, replacing it with something in everyday life. Someone bakes muffins, trying to calm down their sexual desire, someone is shooting on a video camera to patch up the pain.
And these neuroses of heroes are manifested in everything. The heroine Marguerite Moreau constantly comes across some kind of obsessive sexualization, which manifests itself both in the news she hears on the radio and in the joke of other characters when they talk to her. The drama of Daniel (Lindsey Forseca) is much thinner, but at the same time there are no details in the narrative that should contribute to the empathy of the audience, to which the heroine suddenly begins to react.
Henrieta's agoraphobia is not explained at all. At the same time, this phobia is not permanent, because the heroine is afraid to open the door, then suddenly she easily stands on the street surrounded by a bunch of people.
In addition, it turns out that 2/3 of the characters are limited in their development to the first stage of Maslow’s pyramid. Usually, it's sex. Actually, this has its own logic, because in fact it is he who is the stumbling block of most collisions.
And although the film, which was conceived as a road movie, is rather weak, the success of the screenwriter should be attributed to the fact that in the end, the line of destinies of all the characters managed to weave into one story (most of the points I gave for this element), although it turned out to be damn amateurish.
5 out of 10