Eve Annenberg

This feature film tells the true story of Charles S. Gilpin; the first black star on Broadway and his leading role in Eugene O'Neill's controversial play, The Emperor Jones.

The play Romeo and Juliet has been translated around the world. Now Eve Annenberg’s gritty, funny feature film sets William Shakespeare's Romeo and Juliet in contemporary New York City with Brooklyn-inflected English and Yiddish spoken by a talented cast.

The play Romeo and Juliet has been translated around the world. Now Eve Annenberg’s gritty, funny feature film sets William Shakespeare's Romeo and Juliet in contemporary New York City with Brooklyn-inflected English and Yiddish spoken by a talented cast.

The play Romeo and Juliet has been translated around the world. Now Eve Annenberg’s gritty, funny feature film sets William Shakespeare's Romeo and Juliet in contemporary New York City with Brooklyn-inflected English and Yiddish spoken by a talented cast.

The play Romeo and Juliet has been translated around the world. Now Eve Annenberg’s gritty, funny feature film sets William Shakespeare's Romeo and Juliet in contemporary New York City with Brooklyn-inflected English and Yiddish spoken by a talented cast.

끊을 수 없는 운명, 그 속에 숨겨져 있던 치명적인 욕망…집안 대대로 계승된 세습무당의 피를 이어받은 여인 숙희(송혜교). 그녀는 무속인으로서의 운명을 피하기 위해 한국계 미국인 피터(롭 양)와 중매결혼 후 도망치듯 미국으로 떠난다. 모든 것이 낯설기만 한 환경에서 숙희는 독실한 기독교 신자인 남편과 시어머니(준 교토 루)를 따라 교회에도 나가고 옆집에 사는 젊은 부부 존(아노 프리쉬)과 줄리(애쉬나 커리)와도 자주 어울리며 미국에서 새로운 삶을 시작하기 위해 노력한다. 그러나 무당으로서의 운명은 어김없이 숙희의 발목을 붙잡고 무당의 주변인들은 죽음을 맞는다는 속설처럼 갑작스럽게 남편과 시어머니를 잃게 된다. 이제 숙희는 자신을 향해 점점 좁혀져 오는 운명의 그늘에서 벗어나기 위해 자신을 버리고 이웃집 여인 줄리의 모든 것을 따라 하며 숨겨져 있던 욕망에 눈뜨기 시작하는데…

Four twenty-something women, crammed into a small Manhattan apartment, have dead end jobs (or no job) and overdue rent. They discover cash and self esteem when they set up an illegal bookie joint in their kitchen. Suddenly they can pay their bills; they imagine joining the middle class; they even make corporate donations to charity. The film also explores their relationships with men, most of whom are unfit for anything lasting, and with their mothers, who appear in surreal, imagined conversations with their daughters.

Four twenty-something women, crammed into a small Manhattan apartment, have dead end jobs (or no job) and overdue rent. They discover cash and self esteem when they set up an illegal bookie joint in their kitchen. Suddenly they can pay their bills; they imagine joining the middle class; they even make corporate donations to charity. The film also explores their relationships with men, most of whom are unfit for anything lasting, and with their mothers, who appear in surreal, imagined conversations with their daughters.

Four twenty-something women, crammed into a small Manhattan apartment, have dead end jobs (or no job) and overdue rent. They discover cash and self esteem when they set up an illegal bookie joint in their kitchen. Suddenly they can pay their bills; they imagine joining the middle class; they even make corporate donations to charity. The film also explores their relationships with men, most of whom are unfit for anything lasting, and with their mothers, who appear in surreal, imagined conversations with their daughters.

Four twenty-something women, crammed into a small Manhattan apartment, have dead end jobs (or no job) and overdue rent. They discover cash and self esteem when they set up an illegal bookie joint in their kitchen. Suddenly they can pay their bills; they imagine joining the middle class; they even make corporate donations to charity. The film also explores their relationships with men, most of whom are unfit for anything lasting, and with their mothers, who appear in surreal, imagined conversations with their daughters.

A penniless barber schemes to marry his wealthy landlady for her money, but friends, foes-and the Gods-intervene.