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Fraught with over obvious symbolism, Hartley's early feature is nonetheless a joy to watch. Hal here shows us his uncanny ability to cast his characters perfectly came early in his career.Adrienne Shelley is a near perfect foil to herself, equal parts annoying teen burgeoning in her sexuality (though using sex for several years); obsessed with doom and inspired by idealism gone wrong she is deceptively – and simultaneously – complex and simple. Her Audrey inspires so many levels of symbolism it is almost embarrassingly rich (e.g., her modeling career beginning with photos of her foot – culminating her doing nude (but unseen) work; Manhattan move; Europe trip; her stealing, then sleeping with the mechanics wrench, etc.)As Josh, Robert Burke gives an absolutely masterful performance. A reformed prisoner/penitent he returns to his home town to face down past demons, accept his lot and begin a new life. Dressed in black, and repeatedly mistaken for a priest, he corrects everyone ("I'm a mechanic"), yet the symbolism is rich: he abstains from alcohol, he practices celibacy (is, in fact a virgin), and seemingly has taken on vows of poverty, and humility as well. The humility seems hardest to swallow seeming, at times, almost false, a pretense. Yet, as we learn more of Josh we see genuineness in his modesty, that his humility is indeed earnest and believable. What seems ironic is the character is fairly forthright in his simplicity, yet so richly drawn it becomes the viewer who wants to make him out as more than what he actually is. A fascinatingly written character, perfectly played.The scene between Josh and Jane (a wonderful, young Edie Falco . . . "You need a woman not a girl") is hilarious . . . real. But Hartley can't leave it as such and his trick, having the actors repeat the dialogue over-and-over becomes frustratingly "arty" and annoying . . . until again it becomes hilarious. What a terrific sense of bizarre reality this lends the film (like kids in a perpetual "am not"/"are too" argument).Hartley's weaves all of a small neighborhood's idiosyncrasies into a tapestry of seeming stereotypes but which delves far beneath the surface, the catalyst being that everyone believes they know what the "unbelievable truth" of the title is, yet no two people can agree (including our hero) on what exactly that truth is. A wonderful little movie with some big ideas.

父が失踪したマコトは、母と2人、住み慣れた街を離れて新しい街へと向かう。内縁の妻と密やかに生活を送るケンジ、その妻ハルカはある秘密を抱えていた。妻を亡くし、父1人で2人の子供を育てるタケオは、子供たちと海へドライブに出かけた。久しぶりに実家へ帰ってきたユウイチは、自分の名を呼ぶ女性に森の中へといざなわれていく。―これは4人の男の4つの家族が、複雑に絡み合い、喪失から再生へと向かう様を、静かに描く叙情詩。

独自在台北生活的徐子淇摸索着未来生存的方向，追逐平静生活的同时，持续陷在与男友的困惑关系里。她经常接到打来要找“强尼”的电话，这些打错的电话和她的小鹦鹉们是生活里的调剂和陪伴。住在徐子淇楼下的大男孩李立是房东太太的儿子。李立每天读报并反复聆听自己的录音来训练专注，可是自 从某天发现楼下女房客徐子淇偷带小鸟上捷运之后，他惯常的生活节奏因此乱了序，老是不由自主分神，并骑着单车在城市里漫无目的的晃荡着，直到母亲追问，才道破了母子两人的共同想念。漂泊的工头张以风刚承揽了李立家附近一楼工地的装修工程，勘看工地的那天，他视如珍宝的老爷车在路上抛锚了，张以风觉顿失所依。

十二位導演教你重新認識你還可愛的十二齣短片李嘉誠基金會「香港仁 愛香港」公益行動繼「Love Ideas, Love HK集思公益計劃」、「人間有情」香港寧養服務計劃與「寧舍」後，夥拍選址於天水圍的社會企業〈天比高創作伙伴賽馬會策動創新思維〉共同策劃《你還可愛麼》系列，邀請十二位香港導演炮製十二套不一樣的創意短片，展現嶄新感動方程式以喚醒香港人的無限愛心。是次參與的導演計有杜汶澤、卓韻芝、張經緯、郭子健、麥曦茵、麥婉欣、黃精甫、秦小珍、崔允信、曾翠珊、梁碧芝及盧鎮業，演出的演員包括農夫、泰迪羅賓、林雪、鄒凱光、邵音音、林二汶和尹光等，製作團隊成員則包括音樂人陳奐仁、唱片騎師 DJ Tommy及陳輝陽等等。《你還可愛麼》十二位導演以獨有的社會觸覺與電影風格，訴說十二個香港故事，題材涉及關心社會、關懷社區、關愛長者、積極抗病、家庭和睦、環境保護、跨代共融、公德守禮、助人為樂、尋找理想、急促生活以及人際關係等。《你還可愛麼》同時提供機會讓天比高的年輕人參與錄像製作和工作坊，與導演們互動切磋，讓年輕人可從多位導演與專業製作團隊的指導下，踏進創意工業的實戰場地，提升各類型的創作技巧，合力推動青春創意，與一眾電影「仁」以行動關愛香港。「香港仁 愛香港」去年九月推出，旨在透過集結科技、公益和社區觸覺的力量，推展嶄新的互動公益概念，一同建設大家心目中理想的香港。