Lynchian Aspirations of Losing Alice Disappoint Rather than Intrigue | Television / Streaming

“Losing Alice” follows Alice Ginor (Ayelet Zurer), 48, a once promising director whose seminal film “Three-Quarter Moon” was provocative, sexually charged and singular. But that was years ago. Alice is now the mother of three daughters who occasionally do commercial work; Alice’s look when one of her daughters recognizes a yogurt commercial she made is a professional frustration. While she stays home most of the time, banging her head against her still guilty stepmom Tami (Chelli Goldenberg), her actor husband David (Gal Toren) travels the world working on various films. The two have slipped into the kind of mid-career mainstream that is creatively unrewarding: they do jobs that pay for their very big house and the cost of raising their three children rather than artistic fulfillment, and the pressure on their marriage begins to appear.

An opportunity for something different emerges after a chance encounter on a train, when Alice is recognized by a fan, Sophie (Lihi Kornowski), 24, who endlessly praises “Three-Quarter Moon”. Alice continues to try to end the conversation, but Sophie is passionate, exuberant, and tenacious, and she keeps talking. What part of “Three-Quarter Moon” was formed, Sophie wonders, and which part was real? “It all starts with a kernel of truth” is the explanation given, and Sophie seems to accept it reluctantly. And then Sophie reveals her own surprising admission: she wrote a screenplay, she sent it to David and he agreed to star in her film. He said the script “blew his mind” – didn’t he tell Alice that?

This meeting between Sophie and Alice triggers a relationship between the couple that will extend outward and affect almost every facet of their life: personally, professionally, romantically. Between Alice and David, whose already tenuous marriage is put to the test even more when the alluring Sophie begins to appear unexpectedly in their house and Alice plans to direct the film, which David had identified as her own comeback. Why doesn’t Alice let him have this? Between Alice and Tami, convinced that Alice’s growing interest in returning to filmmaking will have a negative impact on her grandchildren; she would prefer that Alice and David separate completely. Between Alice and Sophie, as Alice becomes obsessed with the very question Sophie asked her on the train: what part of Sophie’s film “Room 209” is taken from real life? Sophie has a decades-old boyfriend, as does screenplay protagonist Eleanor. Sophie’s Instagram showed she had a best friend who mysteriously ceased to appear in the posts, just as Eleanor split from her closest confidante in “Room 209”. There is a lot of sexualization and taboo breaking in “Room 209”, just like the buttons Sophie likes to push. Introduce yourself to meet David Braless. Coat Alice’s daughter in makeup, cut her bangs, and make a miniature Sophie lookalike – all without asking. Flirting with Sophie Tamir’s neighbor (Yossi Marshek), who had previously watched Alice with the same playful desire that he now aims at Sophie. Is Sophie trying to copy Alice’s life? Take back his life? “Room 209” ends in a bloodbath, with its myriad of characters grappling with the effects of their own degraded decisions. Does art imitate life here, or vice versa?

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