| | | The Truth Lies Outside The Frame
Features: DVD, Widescreen, Aspect Ratio 1.85:1, Dolby Digital (5.1), French, Subtitled
Courteney Cox (TV's "Friends") delivers a compelling performance as a photographer whose life goes out of focus in NOVEMBER, an absorbing psychological mystery that was rated "Four Stars" by Roger Ebert (Chicago Sun-Times). After her boyfriend (James Le Gros, Point Break) is murdered during a robbery, a photo of her car parked at the scene of the crime appears, blurring the line between the truth and her reality. As she goes through the stages of denial, despair and acceptance, Sophie is led to a shocking conclusion in this "cleverly assembled film" (The New York Times).System Requirements:Running Time 78 Mins.Format: DVD MOVIE
"An edgy psychothriller! Courteney Cox pulls off the move to a dark drama with typical flair!" Aaron Gell, O Magazine
"Two thumbs up." Ebert & Roeper
Editor's Note
This stylish thriller, which was shot on mini-DV in only 15 days in guerilla manner, displays a moody aestheticism and cohesive vision that suggests a bigger budget. The claustrophobic interiors, spare soundtrack, and innovative lighting make the most of a compelling, challenging script that leaves the viewer perennially uncertain as to what is real. Courtney Cox-Arquette, demonstrating her dramatic chops in a drastic shift from her FRIENDS character, stars as Sophie Jacobson, whose boyfriend Hugh (James Le Gros, DRUGSTORE COWBOY, LOVELY & AMAZING) is shot and killed one night in a convenience store while she waits in the car. Traumatized, Sophie is plagued by headaches and strange episodes that increasingly impair her everyday life. Resuming her job as a photography teacher at the local college, she is confronted by a photograph taken the night of the shooting. When she investigates to find out who took it, the answer sets off a string of events that defy explanation. The narrative unfolds in a nonlinear way, traveling both directions in time from the central event of the shooting, recalling in equal parts MEMENTO and MULHOLLAND DRIVE. The couple's history is elaborated, providing new insight into the events surrounding that fateful night, while certain episodes repeat themselves with subtle variations, leaving audiences to parse the truth for themselves. As new elements are constantly introduced, everyone starts to question Sophie's sanity--including the audience. Finally, reality comes unglued and the shock of Sophie's trauma is explored in a new way.
| Features | A Conversation With Lew Baldwin, Composer/Visual Effects | | Alternate Opening Sequence | | Audio Commentary | | Audio: English Dolby Digital 5.1 Surround Sound | | Interactive Menus | | Photo Gallery | | Scene Selection | | Subtitles: English, French |
| Technical Info
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Release Information
| | Studio: Sony Pictures |
| Release Date: 5/22/2007 |
| Running Time: 78 minutes |
| Original Release Date: 2005 | | Catalog ID: 10893 | | UPC: 00043396108936 | | Number of Discs: 1 |
Audio & Video
| | Original Language: English | | Available Audio Tracks: English [CC], English | | Available Subtitles: French | | Video: Color |
Aspect Ratio | | Anamorphic Widescreen 1.85:1 |
| Cast & Crew | Courteney Cox | | James LeGros | | Michael Ealy | | Nora Dunn | | Benjamin Brand - Writer | | Caroline Kaplan, et. al. - Executive Producer | | Greg Harrison - Director | | Greg Harrison - Editor | | Jake Abraham, et. al. - Producer | | Lew Baldwin - Original Music By | | Nancy Schreiber, et. al. - Cinematographer | | Tracey Gallacher - Production Designer |
| Awards |
Sundance Film Festival (2004) |  | Nancy Schreiber, Winner, Cinematography Award | | | Greg Harrison, Nominee, Grand Jury Prize | |
Independent Spirit (2005) | | | Danielle Renfrew, Nominee, Producers Award |
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| | Professional Reviews | Entertainment Weekly
"[T]he performances are crisp and in focus, with Cox in particular showing a photogenic feel for expressing grief." 07/29/2005 p.50New York Times
"[A] twisty paranoid thriller..." 07/29/2005 p.E21 San Francisco Examiner 6 of 10
November" presents us with a psychological puzzle that develops into about two-thirds of a compelling movie. Its pieces are intriguing and occasionally dazzling. But the complete picture doesn't quite satisfy. - Anita Katz
Chicago Sun-Times 7 of 10
A movie that explained the murder of Hugh, or whatever really happened in the convenience store, would be ending at the "bargaining" stage. It would not deny death. It would be beyond anger. It would have decided that to understand what happened would be the "answer." Most movies are satisfied to arrive at that point. Most audiences think that's what movies should aim for. But November does not bargain and does not explain. Take note of what happens at the end, consider that the final section is titled "Acceptance," and you may have the key to the mystery. - Roger Ebert
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