Scott Stark leads us through a dizzying array of consumerist goods in his stereoscopic mannequin melodrama The Realist. Composed of flickering still images, this entrancing romp conjures retail worlds both familiar and strange, in which chiselled mannequins may in fact be communing with each other amid the overwhelming array of apparel. Whether viewed as consumerist critique or spellbinding, operatic fantasy, The Realist employs a deft binary structure that skews toward the metaphysical.
Virgil Oldman is a world renowned antiques expert and auctioneer. An eccentric genius, he leads a solitary life, going to extreme lengths to keep his distance from the messiness of human relationships.
Los Angeles, 1949. Ruthless, Brooklyn-born mob king Mickey Cohen (Sean Penn) runs the show in this town, reaping the ill-gotten gains from the drugs, the guns, the prostitutes and — if he has his way — every wire bet placed west of Chicago.
Teacher Linda Sinclair (Julianne Moore) balances her staid home life with an incredible passion for her subject, but her routine is forever altered when a former star pupil and his unsupportive father reenter her life.
Life for former United Nations investigator Gerry Lane and his family seems content. Suddenly, the world is plagued by a mysterious infection turning whole human populations into rampaging mindless zombies.