UnowPriceless hyped garbage

MamaGravity good back-story, and good acting

ShangLuda Admirable film.

AshUnow This is a small, humorous movie in some ways, but it has a huge heart. What a nice experience.

lasttimeisaw "Do you miss your kids?" - "Yes" - "Do you hate your ex-husband?" - "Sure" - "Do you want to get married again?" - "Of course".A cavalier convo between a high-school drop-out Maria (Shelly) and her divorced elder sister Peg (Falco) in TRUST, US indie hyphenate Hal Hartley's second feature, gives the gist of the vicious circle that a woman often gets entangled with, and in Hartley's quirky but roundly unconventional girl-meet-boy yarn, he will ensure that the same fate will not befall upon his protagonist Maria. Starting from its opening's drop-dead gambit, TRUST sets its deadpan timbre squarely in the center. Maria naively takes her jock boyfriend's throwaway promise of marriage for granted and gets pregnant, and obliquely is answer for her father's sudden shuffling off this mortal coil (she never knows he has a bad heart!), consequentially is frozen out by everyone else, barely getting out of harm's way from a sex pervert in a liqueur store, she falls in with Matthew (Donovan), a retiring loner but a consummate electronic repairman who has a retrograde affinity of analog over digital and prefers repairing radios over televisions (the latter causes cancer to boot), they hits it off fine, nothing remotely earth-shattering or libido-driven, by choice, Hartley brilliantly teases out the encroaching tenderness which they will grow for each other, a healthier, more humanistic and salutary type of connection between two strangers, which prods both to make some vital decisions: an abortion or keeping the baby, securing a 9 to 5 dead-end job or sticking to one's ground, getting married or stay as friends on the common ground of their mutual affection and trust. There is some bad parenting in the mix too, Matthew is in the receiving end of an abusive father (MacKay), that kind would gut-punch his own son without blinking an eye, who still rankles that Matthew's mother died of giving birth to him (called it narrow-minded or inward-looking is a criminal overstate), from where one can see where Matthew's inchoate violent proclivity comes. More enigmatically misandrist is Maria's mother Jean (played by an unknown Nelson with Janus- faced finesse between astuteness and sangfroid), whose confiding moment of the aftermath of her recent bereavement tellingly vouchsafes the heartening fact: Mr. Hartley is devoid of the usual unsavory male-chauvinism in his chromosomes. The two leads are both excellent, Adrienne Shelly has a cool girl's composure seeping through her trademark elfin air, totally sympathetic as a hapless misfit whereas a subplot entailing a snaffled infant baby singles out Maria's learning curve of motherhood and in those moments, she is unassumingly observant and grown-up. On the other hand, Martin Donovan makes great play of a vastly conflicted persona shrouded by antisocial angst but finds fondness with an unlike match, flagged up by the grenade he carries, Matthew's self-destructive predisposition has only one antidote, a sincere, real human connection based on mutual trust, isn't that what everyone wants? Shot in a shoestring budget within a meagre 11-day span, imbued with an antiseptic, blueish hue and blessed with Hartley's expressive compositions and other winning trimmings, TRUST is whimsical but not cutesy, rapier-like but never doctrinaire, earnest yet at times you can catch its knowing wink: kookiness is the new sexy, and don't forget, Harley juvenilia is made in 1990.

VisualSatori My favorite movie of all time... (under $700,000)Not sure why.... Low Production Value. Most of the acting is substandard. The Locations are mundane.But... The writing is profound and relatable. The characters are iconic, stereotypical yet Identifiable. Very Quotable one liners.Top Notch interpersonal relationships. (A True Cult Classic)

randallhurlbut Hal Hartley's film TRUST is one of the top 100 achievements in the history of cinema. Hal, if you ever visit this site and see this statement I hope it makes you feel good. A d-girl in LA (development person in Hollywood) at a party once showed me a bookshelf at her home that contained her 10 or 15 favorite screenplays of all time... KANE, CHINATOWN, ... and one of my old screenplays (!)(she didn't know I was the author) and yeah... that makes you feel pretty damn good.So why does TRUST work so well? Maybe it's alchemy... getting sorta the right combination in the right quantities of abstraction, hyper-realism, irony, and distance. Hartley plays with archetypes and yet makes them singular. (That ain't easy.) It's like reading Theodore Dreyer filtered by Bertolt Brecht, or running into a Long Island Godard, but the fun version of Godard before he became too p-ssed off at the world.Hartley will stage a scene that you've seen a thousand times before, almost as genre commentary or put-on, then morph it into something you have NEVER seen before. Come to think of it, although Hartley is often thought of as the American Godard, at times he could almost be the American Bunuel (sorry Mr. Lynch).It would be easy to hate some of the characters in Hartley's TRUST, but Hartley doesn't. He may hate the situations, the contexts, the environments... but he certainly has no hatred for the people. It's a great love story and a quasi-homage to PIERROT LE FOU.It contains multitudes. It is a great film.

timmy_501 Trust opens with a stereotypical ignorant high school girl named Maria making petty demands of her parents and deliberately scandalizing them by explaining her future plans which involve marrying her jock boyfriend. She explains that he'll have to because she's pregnant and then leaves before she has a chance to realize that the news has caused her father to have a heart attack.Since she does leave we have a while longer to become familiar with her before her perfect world begins to crumble around her. She carelessly goes clothes shopping during the day and only stops by the school she is supposed to be attending to talk to her boyfriend. He's more worried about the upcoming football game than anything she can tell him; news of her pregnancy only angers him and he makes it clear that he won't take care of the child. Things get progressively worse for her as she's kicked out of her house, has a conversation with an insane woman, and is nearly raped before retreating to a quiet street where she attempts to drown her sorrow in a six pack.At this point Maria happens to meet Matthew, a gifted machinist who is so unsatisfied with his foolish employers and demanding father that he has developed a nasty violent streak. This initially seems to be an excellent match as the newly disillusioned Maria has become just as averse to nonsense as Matthew. The two slowly get to know each other and each one realizes that the other satisfies an innate desire that has previously gone unmet. Unfortunately circumstances keep arising to drive them apart and Matthew puts his trust in the wrong people.Writer/director Hal Hartley infuses this film with a uniquely cynical wit that meshes perfectly with the material to create a work that is at once funny and emotionally engaging. The film also is thematically satisfying in that it explores the attitudes of the characters and how those attitudes have been developed. Specifically, we see how the trust characters place in other people, particularly family members, is abused and subverted and how this has shaped various characters over time. Trust is one of those rare films that not only encapsulates a certain time and place but also presents some genuine truths about human behavior and offers a consistently engaging viewing experience.