Gaudi Afternoon (2001)
Runtime: 88 mins
Theatrical Release: Mar 21, 2003 Limited
Synopsis: Cassandra Reilly (Davis) is an American translator who has moved permanently to Barcelona. She’s quite broke, though, so when a glamorous stranger asks for her help, she can’t afford to refuse. The hot femme-fatale Frankie Stevens (Harden) is another American in Barcelona. Her husband has... Cassandra Reilly (Davis) is an American translator who has moved permanently to Barcelona. She’s quite broke, though, so when a glamorous stranger asks for her help, she can’t afford to refuse. The hot femme-fatale Frankie Stevens (Harden) is another American in Barcelona. Her husband has disappeared under mysterious circumstances, and she asks Cassandra to help her find him. As she offers a significant amount of money for the assistance, Cassandra simply can’t refuse. Soon she finds herself caught up in a web of mistaken identities, double-crossing families and a devilish kidnapping plot. -- © First Look Home Entertainment [More]
Genre: Dramas
Starring: Judy Davis, Marcia Gay Harden, Lili Taylor, Juliette Lewis, Christopher Bowen
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Reviews
Gaudi Afternoon is mostly dream, part nightmare, and part morality play surrounding the concept of mothering a young girl.
A kooky, madcap adventure set in Barcelona devolves into a sort of sub -sub-Almodovar picture. Stay for the opening credits, then leave.
For a while, the sheer exoticism of the characters and the setting provides a certain amount of interest, but the film's farcical situations, mostly involving the sexual orientation of its characters, ultimately prove tiresome.
With a lovably quirky script, lovely production values and delightful performances by a strong cast, Gaudi Afternoon is Seidelman's best film yet.
A mildly entertaining gender-bender comedy set in Barcelona, never quite lives up to its excellent cast or the onetime promise of director Susan Seidelman.
What should be a soufflé of gender-bending mischief is more like a bowl of oatmeal.
The offbeat cast and gorgeous Barcelona locations can't quite make up for the thinness of the mystery and forced quirkiness of the characters and their tangled relationships.
Even the crackpot architectural genius of Antonio Gaudi cannot elevate this silly little farce of sexual confusion from director Susan Seidelman and writer James Myhre.
The trumped-up alley-to-plaza intrigue could use more smoke and less mirrors.
Although the ending briefly dips into some silly sentimentality, the film as a whole is liberated by Cassandra's sardonic charm and a madcap exploration of the mother-daughter nexus.
It's a frothy romp played for the fun of it, and when the silliness dies down the pic can easily be forgotten.

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