Yesterday Was a Lie

the plot seemed to be a mess.

Somewhere the story was lost - and the movie relied solely on trying to be a film-noir 0 which it couldn't and trying to rely on it's characters or actors to bring out the interest - which it lacks.

The two female leads didn't initiate any real chemistry and if it was to be a lesbian love story, there was none.

While the singer looked great and performed great on-stage - the rest of her presence didn't offer anything.

The other characters pop in and out for no reason that is memorable.

In fact the entire story is far from memorable.

The only thing that I did like was the lighting and camera work and music.

Plot, acting and story failed for trying to be too much and offering too little.

The starting theme of this film is simple: "Look at the rack on this dame." All the rest is pretty much philosophical filler preparing for the rest of the film. The director makes sure the primary theme is emphasized throughout the first third of the movie by means of tight-fitting shirts and wide plunge-to-the-navel dresses... insuring that at least half of the viewers will follow the film through to the end whether they understand the unfolding plot or not. Admittedly, the girl has the goods to make that happen.

The film slowly curves to an almost-campy feel. The noir aspect is done just right, not too fuzzy, not too sharp. Most of the lines in the script are properly adept to the 30's and 40's. It falls short just enough to hint there's more to this film than a noir satire, but in the beginning doesn't take itself too seriously... quite yet. This allows the viewer to enjoy certain aspects of the film without being forced to delve too deeply into the philosophical paradoxes. But there's an overriding uneasy feeling that's a portent of what's to come.

The last third of the film is when they pour it on, and the foundation they've built to that point begins to hit paydirt. There are some brilliant ideas and lines here (although not original, still interesting to follow). If the viewers have stuck through the semi-cerebral dialog to this point they're likely to stick with it to the reveal. And there is a reveal... but it's just enough to hint at what's happening rather than spoil the mystery. Ordinarily I hate films that leave the viewer to figure out the purpose of the film, but in this case it works.

The acting starts out questionable. It's not good, not bad, some of it decidedly hammy where it fits. When it comes to the lead actress, acting isn't her prominent attraction. She's there to catch and hold initial attention while the writers and directors build the plot line. The supporting actors are sufficient to the job, but no one but the lead actress pushes their role too much. The lead actress does. Her acting gets better halfway through as the plot solidifies. This all is evidently by intent, initially making you question her role, then seeing that role developed and defined as the story unfolds.

Especially impressive are the sets and backgrounds. Simple and clean yet precisely period. The lighting is great (especially in the final scene) as is the use of fog and steam throughout the film. In this it's the little things that count, and the director uses them efficiently.

At first I was going to give this film a 5 star mediocre rating, but it kept getting better as it went along. At the end I realized the director skillfully pulled us along exactly as intended, tricking us by making us wonder whether this was a serious film or a satire. They made sure the question marks were in all the right places but the answers never quite handed to us on a platter. In the end if we've been paying attention we figure out what happened, but aren't quite sure we've figured it right. That aspect is surprisingly and very unusually satisfying. As stated prior, I usually hate questionable-ending films. Not hating it in this film indicates a decided mark of skill in the presentation.

Not a "brilliant" film, but somewhat in a class of its own. It's one of the best uses of neo-noir I've seen, with the plot both coming together and unraveling at the same time. That's a tricky balance, but one I feel they pulled off successfully.

This is not a movie to miss if you hear of it coming to a convention or festival near you. See it for free before you have to pay for it! There are many types of film fanatics that should love this movie. It can be compared to so many different types of films and film makers. All Sci-Fi fans should like the film because of the alternate realities/parallel universe themes. You will also notice the film takes on a very non-linear plot. For some, this is confusing. However, it only adds to the delight of watching this film. This non-linear film making reminds me of films by Quentin Tarantino. This film could certainly be one that can viewed multiple times and enjoyed over and over.

This film was originally shot in color and then desaturated in post production. The black and white or "noir" aspect of the film adds its own personality. Color would not have worked for this film because it has a 1940-1950's "Bogart" theme to it. You see Hoyle play the part of the investigator playing the part of the crime detective so well. She plays it as a female; which no doubt, offers a refreshing way to see a detective role played.

The convention I attended was the first Con for me. When I saw the Films listed I read more about this film and it looked very interesting. It met and beat all my expectations. I had the chance to meet Chase Masterson playing the Singer and Director James Kerwin. There was a great panel on the film and many questions were answered. Take a look at the cast and you will notice some familiar faces in the Sci-Fi family.

If I could only see this film in the area again or buy a DVD I would! See it for free while you can!

Have an open mind and see it at a convention or festival now!

(OK -- forget they met on Star Trek.)

This is a strange movie.., maybe not in the usual sense, like a Dark City, or Bladerunner or even a host of mediocre, time-bending, sci-fi films like The Fare.., possibly because this film's primary purpose was not actually to be a movie in the first place.....imho. (stay with me)

I see James Kerwin as a remarkably talented fellow. But like the movie's male lead, Dudas.., some femme fatale broke his heart. And, at the point where his world was crumbling and time had stopped.., Kerwin had a choice to either join a MGTOW forum on YouTube (swear off wimmen for good).. or use his anguish to make a film-noir adaptation of his painful odyssey.., possibly with the hidden, albeit semi-predictable agenda of winning HER back. He chose the latter., foolish boy.

And you could say he really put his heart into it - striving, it would seem, for actual cinematic excellence (trial by theater), and revealing himself to be a sort of vanishing old-school Hollywood type, nostalgic of course, and aiming for production effects from the glory days of Hollywood, as opposed to the current, cold, calculating Cyclops of Baloneywood, bent on agenda-driven, formulaic films and even more formulaic propaganda. One might even call him a rebel (ergo of no use to the Masons).., perhaps accounting for his having only made this one solitary movie, despite his obvious skills and passion.

Dare I say, because catharsis and solace for Kerwin's broken heart were the raison detre of this film, several commonplace areas of production might have been slightly neglected - say, plot.. being the foremost. While some reviewers contend there actually is a plot.., I would not go THAT far. Furthermore, the absence of plot didn't really bother me. Besides which, I HAD been warned.., by an opening credit for one of the production companies, which boldly claimed it produced "intelligent films". So, no surprises.

I never really felt like the film was about telling a story anyway. Dare I suggest.., (for me) it was a kind of a (serene) visual and emotional hypnosis, where I was compelled to enter their world, by dint of the actors' commitment to the whole experience. In other words, Kerwin yet again expressed his unique values by selecting actors who were also "old school" -- drawn to acting, not to escape reality by treading the boards.., but to either escape the general phoniness of the "real" world, or perhaps their own personal sense of Unreality -- people who had perhaps always struggled to find their true inner identity, as might often be thought the case with individuals tortured by gender-identity issues.. or who merely longed to be some best, most beautiful version of themselves. (Think Melanie Griffith.., who exultantly "found herself in Forever Lulu.. (imho).

Take Chase Masterson for example - who, if you soberly peruse web images and so forth, might come across as bat-suit crazy.. and not even terribly attractive (or even female); but somehow Chase was absolutely dazzling, as if he/she'd matriculated from a life of endless beaus and beauty pageants, and had been literally carried from Edina to Hollywood.. on the shoulders of her worshipful admirers and understudies. She finally caught it!!

Kenleigh Brown.., well, unless simply a very adept switch-hitter.. was possibly more the former circumstance, tortured by his/her inner anima longing to be female.., but instead of projecting it onto some teenage inamorato, decided to BECOME said anima.., nevermind the Kirk Douglas chin or masculine brow ridges. (These are things you pick up being MGTOW.) Her acting, as well, was a bit ambivalent, and things did get off to a rather slow start.., but, imho, once the actors started trusting each other (getting comfortable with their collective schizophrenia).., some of Kenleigh's acting moments were astonishing and quite beautiful.., almost as if knowing their film tribute to this classic vision of Acting might be the last vestige of a dying art. (Wrap it up, buddy.)

Throw in a lot of semi-intriguing vocabulary from the world of arcane psychology and basically irrelevant metaphysics and pseudoscience.. (which the viewer cannot question, lest they appear stupid).., and voila - an 'omage to the naive and floundering past.. and all bittersweet human glories unattainable - electrically-crackling, star-crossed romance and abiding love, where wimmen are not fickle and hypergamous, or seeking self gratification by a juggernaut process of trial and error, where eviscerating collateral damage is NOT a given.

In short.., if you like antiques and/or at least drive a PT Cruiser, you'll probably enjoy this film.. despite its lack of plot or utile wisdom.., though a couple Manhattans ahead of time probably wouldn't hurt. AND, ere parting.. with a painfully slow shuffle about the dance floor -- I can't and shouldn't omit fierce kudos to (now deceased) Mik Scriba, who played Hoyle's somewhat inexplicable but uncondescending sidekick. Very endearing.

cheers!!😇 (I am not entirely discounting the possibility that they serve Manhattans in heaven.)

This film falls short to deliver a Twilight Zoneesque feel. Unless you're a Jungian or are familiar with Fred Hoyle and anything psychological or science for that matter, then this film will pass over your head. Love the noir atmosphere but the characters aren't believable in telling a noir style story. Chase Masterson is incredibly talented and gorgeous,and makes an attempt to be Virgil and walk Kipleigh Brown through a scientific Dante's Inferno. If this film were a student project for an astrophysics class, then it would have succeeded. Unfortunately it was presented as an actual film at Cannes. As a lover of science fiction, especially Twilight Zone and Star Trek I delve into this film expecting for a great deal of human factor drama and a blend of 1950's murder mystery and suspense. Instead I received a puzzle with pieces that are missing. If you watch this film research Fred Hoyle or read October First Is Too Late or keep the Sixth Sense and Dante's Inferno in mind.