After large-scale productions like San Andreas and the new edition of Baywatch joined actress Alexandra Daddario increasingly in shallow love comedies or ambitious smaller films. with Lost Girls and Love Hotels A new project is now added that falls into the last category. Based on the novel of the same name by Catherine Hanrahan, which in turn is based in part on my own experience, was directed by William Olsson (An American Affair) a feature film adaptation.
In the center of Lost Girls and Love Motels is Margaret, who during the day earns her living with English lessons at a flight attendant school in Tokyo, but at night indulges in drugs and strange men. But one day she meets a man with Kazu who has a great fascination for her. However, he is also a seedy member of the Japanese underworld, which makes their relationship far from easy.
The script for the work was written by Hanrahan even.
Next Daddario are still among other things Takehiro Hira (Duty / shame) and Carice van Houten (Operation Valkyrie) be visible.
© 2020 Capelight Pictures
What sounds like an abysmal journey into the emotional human abyss unfortunately turns out to be a snapshot of it. Despite Ale’s voiceoverxandra daddarios Margaret, very little is revealed about the character. The viewer is always kept at a distance, which means that he himself is only slightly emotionally involved. Still practice Lost Girls and Love Hotels a certain fascination through the successful camera work and the lost glances Daddarios arises. Dramaturgically nothing is told in great detail about Margaret’s story, which means that her thoughts of escape and her sometimes suicidal actions are simply presented as given. Anyone looking for explanations will be left completely alone here. Much more, this creates a possibility of projecting one’s own abysses. In order for this area to be filled, however, there is no director William Olsson but the necessary instinct, which allows this approach to unfold its full potential. The little hints, hints and longings are missing, which are by no means formulated, but must at least be recognizable in the imagery. And right here comes Olsson lost his work and that despite a consistently hard-working leading actress.
Lost Girls and Love Hotels is a film that should not be approached with false expectations. Neither a detailed character drama nor an erotic work is offered here. Despite the numerous sex scenes, they lack any tingling passion. These never really serve a voyeuristic or even turn-on purpose, but are only an expression of the forlornness of the main character, as well as their excessive consumption of alcohol and their willingness to take drugs. So it is only right that the director really rarely reveals a lot of skin. These are all symptoms of the main character’s self-destructive tendencies. Apart from her two drinking friends, who have similar prospects, Margaret does not enter into any ties, clings to anonymity so as not to be emotionally bound at all, and so throws herself into fleeting acquaintances that can never give her the certainty of security. In this way she pursues her deeply rooted desire to be redeemed – from life and its burdens. So it is hardly surprising that she loses herself in the presence of a yakuza in whom she suddenly seems to find redemption on an emotional level. But even with this relationship it is clear from the start that it will not last. As a result, she only invests herself emotionally here with the certainty that this phase will also come to an end. The two become mutual companions for a period of life, give each other support in their existence, so that at least for a moment they are not alone. Because, as the protagonist puts it so aptly, being alone is not necessarily about other people. Rather, it’s a feeling. And that underlines the end again.
Even if it all sounds very interesting, it is Lost Girls and Love Hotels yet far too distant emotionally to pick you up completely. If you can get involved with the subject matter and the main character, whose irresponsible manner often makes it difficult to develop sympathy, then the work definitely exerts a fascination. Nevertheless, the film lacks narrative class so that it can develop its full potential. It is currently in the final stages Lost Girls and Love Hotels too rushed and the changes can hardly unfold. The story comes to a hasty end without any feeling of satisfaction. Likewise, the dramaturgy does not take the necessary time to deepen the actually exciting relationship between Margaret and the Yakuza Kazu, which means that the meaning of the two for one another is hardly tangible. What for example Leaving Las Vegas Outstandingly designed with his two lost souls, too often acts here as an assertion. Far too much the plot gets stuck on Margaret’s self-destructive paths, which in their frequency do not contribute anything to the expressiveness.
© 2020 Capelight Pictures
The work’s ambitions can be clearly seen. The camera work by Kenji Katori is strong, the two main characters Alexandra Daddario and Takehiro Hira are also convincing and the dramaturgical starting point about a woman who wants to be as far away from home as possible and is looking for solitude in an overcrowded city like Tokyo, of all places, is very promising. But the plot and the filmmaker do not necessarily play into each other’s cards, so director William Olsson fails due to the concealment of the content of information, as he does not know how to design it visually.
Lost Girls and Love Hotels explains little with what director William Olsson is noticeably overwhelmed and he does not manage to pick up the viewer. This is held too far away emotionally, so that the potential power of the film cannot unfold. The great camera work and the two good main actors still exert a certain fascination, even if it cannot fully enhance the narrative weaknesses.