A strange, mutually exploitative relationship develops between a young woman (Arsinee Khanjian) obsessed with her dead brother, and a narcissistic wannabe actor (Michael McManus) working in a hotel. Egoyan was inspired by his own experience working in a hoteloa profession that, like film, involves the creation of illusion. The concern with narcissism comes across with a certain archness, but this was the first time that Egoyan expressly addressed the drives behind film-making itselfofilm as a substitute for life, living as a form of film-making, themes which come together in an explosive climax.

Canada, 1989.
92 mins.