L.A. Overnight is on VOD and it’s a thrilling Noir. But is it saying a bit more than it first lets on?

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It’s like we’re all waking up from a mass hypnotism, and we’re ready to get on with our lives. Will we forever seek approval from a system out to use us for the best we have to offer?

“Do you want to pull off a bank hiest?”

It’s something someone in industry once asked me. I’d just walked away from a suitcase of “sketchy communist cash,” and this person was getting checks for a Texas feminist film festival sent to his apartment. I said, “No,” obviously. I still worked for two news desks. I had no further “stardom” ambitions than that. I only became a film writer after I walked away from both of them soon after due to editorial policy and quid-pro-quo harassment. A force within compelled me to work the ever-loving life out of every dime and shoestring.

It was worth it. We have brought up our first intern.

L.A. Overnight is a film that is unsettling from the very start. A waitress goes on many auditions, but despite being the most talented or most beautiful person in a room, it is simply “never enough” to get cast. She wonders why. She has breakdowns. She treats smoking with hypnotism. Then one day her regular customers have a proposition. If she wants to network on Broadway, all she has to do is go in with them.

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David Lynch and the Coen Brothers are obvious influences in this gritty noir drama. Eccentric characters all discover their parts in a system that is set up to make them subservient to it — full of scams and blood soaked cash on dream-inducing palm tree lined streets.

The aesthetic here is etherial, but it is also quite visceral. The tension and desire show where the holes in the traditional “success dream” seem to lie.

Is the Hollywood dream all it’s cracked up to be? Or do artists truly need community and locality?

I feel like Tazmanian director Michael Chrisoulakis and his production team involving several key talent members is saying something much deeper. It takes money to make money, certainly — but where do the successful get it from?

So many artists want to know.

If you’re in L.A. you can see it this Saturday at Cinelounge instead of settling for VOD. Some of the cinematography in this film really speaks to the big screen with sweeping movement and pacing that induces visual feasting.

It stars Arielle Brachfeld (Chemical Peel), Azim Rizk (Power Ranges) and Ashley Park (Former Miss Asia USA) as well as featuring indie film legends Peter Bogdanovich (The Last Picture Show, Sopranos) and Lin Shaye (Insidious, There’s Something About Mary).

Key Crew are Producer/Director — Michael Chrisoulakis Writer/Producer — Guy J. Jackson Producers — Camilla Jackson, Kimmie Yan, Kate Rees Davies Cinematographer — Stefan Coulson Music — Michael Lira.

Don’t miss this. It’s good.

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