City of Lust
David A. Holcombe, Nick Reise, Ed Wolf, Kathryn Arnold (executive) for Soft Cage Films NFP
directed by David A. Holcombe
starring Margaret Grace, Jill Oliver, Shelley Nixon, Kyle Greer, Derek Ryan Brummet, Jeffrey Bouthiette, H.B. Ward, Antonio Brunetti, Joette Faters, Casey Chapman, Heather Dorff, Matt Miles, Lisa Herceg, Anya Clingman, Alicia Ciuffini, Meghan Reardon, Rebecca Flores, Ian Smith, Sam Quinn
written by David A. Holcombe, Rory Leahy, Nick Reise, music by Christopher Carson Emmons, Sean Foran
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Arianna (Margaret Grace) lives a miserable little life: She works in a
dead end job at a beauty salon where she has to take abuse from customers
and colleagues alike all the time, while her boss (Shelley Nixon) accuses
her of stealing, she is not only shy but also has next to no social life,
and the only friend she's having is a transvestite (Kyle Greer) who
constantly takes her to wild clubs she feels uncomfortable at, while at
her house, the maintenance guy (Antonio Brunetti) is a bit too eager to
get into her panties ... and sadly enough, that's the closest to a sex
life she's having.
Then she dials a women-on-women phonesex line - and
with the girl she's hooked up with, Jackie (Jill Oliver), her life
changes, as Jackie actually seems to like her, calls her back, after a
while suggests to meet, and the two women actually end up having sex. And
Jackie also encourages Arianna to take her life into her own hands ... and
that might not be a good thing, because before long, people who have
wronged Arianna in one way or another die like flies from unnatural causes
(yes, it's murder), and Arianna even becomes one of the suspects.
hasn't done it of course ... or has she, because at times she wakes up in
the strangest of places, usually with a human tooth in her hand ... and
what about Jackie, is she real even? Oh, and then there's Arianna's
brother Danny (Derek Ryan Brummet), who obviously wants his violent
revenge on her - buf for what, and why has she assumed a new name?
the title might suggest, Yellow pays hommage to the Italian giallo,
with its labyrinthine serialkiller story, many unlikely plottwists, its
psychological underpinnings, its outbursts of violence, and its sexy bits.
But that said, Yellow works not so much as an hommage as it does as a
piece of delightful genre weirdness, because despite all of the references
it does find its own unique style and feel, despite its very unlikely
story, the film does make sense within its own reality (even if its hard
to make sense of it) - and add to this a few very compelling performances,
and you've got yourself a pretty good and pretty weird piece of genre
cinema (and whether or not you want to call it an actual giallo or
even care is up to you).