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The Girl from Monday

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Editorial Reviews

Product Description

In Hal Hartley's futuristic film, a being arrives from outer space and takes over the body of an alluring worman (Tatiana Abracos) to find a friend in grave danger. In the meantime, the planet is in disarray; the creation of the Human Value Reform Act ha

Shot on video in color and black and white, indie-god Hal Hartley's The Girl from Monday imagines a not-too-distant future in which the Multi-Media Monopoly (Triple M) corporation rules over a real consumer culture. Individuals have bar codes implanted on their wrists and their stock fluctuates according to their sexual activity. Bucking the system are the Partisans, a rag-tag group of "counter-revolutionaries with no credit rating." Hartley veteran Bill Sage (The Unbelievable Truth, Trust, Flirt, Simple Men, No Such Thing) stars as Jack, a disillusioned Triple M advertising executive. Sabrina Lloyd (Sports Night) costars as Jack's rebellious co-worker, with Brazilian model Tatiana Abracos as the enigmatic eponymous character, an alien who takes ravishing human form when she falls to earth. The Sopranos' Edie Falco, who co-starred in Hartley's The Unbelieveable Truth and Trust, graciously appears as a judge. More interested in ideas than special effects, Hartley's characteristically deadpan "science fiction" is not likely to win him a wider audience beyond his core, cult following. Fans of Chris Marker's La Jetee may also find this film a stylistic kindred spirit with its haunting use of still images. --Donald Liebenson

Special Features

  • Original theatrical trailer
  • Making-of featurette

Product Details

  • Actors: Bill Sage, Sabrina Lloyd, Tatiana Abracos, Leo Fitzpatrick, D.J. Mendel
  • Directors: Hal Hartley
  • Writers: Hal Hartley
  • Producers: Hal Hartley, Steve Hamilton, Lisa Porter
  • Format: Multiple Formats, Color, NTSC
  • Language: English
  • Region: Region 1 (U.S. and Canada only. Read more about DVD formats.)
  • Aspect Ratio: 1.33:1
  • Number of discs: 1
  • Rated: R (Restricted)
  • Studio: Virgil Films
  • DVD Release Date: January 10, 2006
  • Run Time: 84 minutes
  • Average Customer Review: 3.5 out of 5 stars  See all reviews (13 customer reviews)
  • ASIN: B000C65ZA2
  • Amazon Best Sellers Rank: #97,127 in Movies & TV (See Top 100 in Movies & TV)
  • Learn more about "The Girl from Monday" on IMDb

Customer Reviews

3.5 out of 5 stars

Most Helpful Customer Reviews

5 of 6 people found the following review helpful By Brian E. Erland HALL OF FAMEVINE VOICE on April 17, 2006
Format: DVD
'The Girl From Monday' offers a somber, thought-provoking glimpse of a possible future where "Consumer is King" and everything else, including mankind, is nothing more than a commodity. Earth has become a corporate run world and we are stock, or property that goes up or down in value based primarily on our sexual desirablity. Good sex enhances net value while failed copulation, or rejection causes de-valuation of personal worth and a decrease in buying power.

Jack (Bill Sage) who was once a prominent figure in the corporate structure has become a leader in the "counter-revolution." As he and fellow partisians fight the "Powers That Be" matters become more complicated when Jack falls in love with a co-worker (Sabrina Lloyd) and encounters an alien (played by the beautiful Brazilian model Tatiana Abracos) from a distant planet known as Monday. She has come to on Earth in search of a missing piece of her worlds "collective soul' which was stranded here a few years earlier. Her embodiment in human form is a process known as "the word becomes flesh."

Can corporate greed and massive group progamming be overcome by a few conscious, free-thinkers? And what role does this extra- terrestial culture have to play in the reclamation of mankind?

This is not a film that stands up well to alot of repeat viewings, but it's a worthwhile watch the first time. It's the perfect film to see with a group of deep thinkers who enjoy dissecting and interpretating cinema late into the night over a good cup of coffee, or glass of wine.
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7 of 9 people found the following review helpful By J. Ferrigno on December 10, 2005
Format: DVD
This is one of the best films I have seen in the past five years. Bill Sage is fantastic! He has done so much great work but this it the best performance I have seen him give yet.

This film was directed by Hal Hartley who gave us incredible films like Trust, Surviving Desire, and Simple Men. For someone not familiar with the Hal Hartley style of film where the actors speak in a stilted manner like in a Samuel Beckett play this film may seem strange but once you get used to this style you can learn to appreciate it and see that it actually adds depth to the performances.

I have always loved Hal Hartley films but this one is my favorite. This film explores many important present day issues and concepts in a science fiction format. It was incredibly moving to see important issues like terrorism, security and authority dealt with in an intelligent, honest, non propagandistic way.

I can not recommend this film enough. Every American should see this film. You can check out more of Hal Hartely's (and Bill Sage's) films at
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8 of 11 people found the following review helpful By Curtis G VINE VOICE on November 5, 2008
Format: DVD
I used to really enjoy writer/director Hal Hartley's work. For my taste, though, he peaked with 1992's Simple Men. Flirt and Amateur were as pale imitations of his masterwork, and No Such Thing isn't worth mentioning. Although The Girl From Monday is credited as "A Science Fiction by Hal Hartley," it's still more indie than sci-fi. And that's just the final straw in a long series of missteps.

It's beautifully shot, and I have to give the guy credit for making an ambitious movie on digital video, but there seems to be no narrative thread apart from The Girl, who shows up at the beginning and leaves at the end. There's been some sort of consumer revolution that has allowed the virtual takeover of society by a media conglomerate, and Jack (Bill Sage) is the increasingly remorseful architect of that revolution.

A major component of the new system is the trading of "personal value" on the stock exchange. When two people consent to have sex, their personal value increases. (Sex without value increase is criminal.) Hartley dances around the "sex as value" concept quite a bit, but never really makes it stick. Hell, even the ham-handed Saturn 3 used a variation more effectively:

James: Yes, you have a nice body. May I use it?
Alex: I'm with the Major.
James: For his personal consumption only? That's penally unsocial on Earth.
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Format: DVD
Part of the problem of being a conceptual film maker, is that your work is essentially an essay. Each piece is about something, and Hartley's back catalog is deep and great. Since Henry Fool (probably his best film) he's moved into digital cinema to cut costs. His first all digital piece The Book of Life was awful and probably his worst film, but he followed it up with No Such Thing which was a big budget film that never made it major theaters. No Such Thing suceeded, but showed that when Hartley is risking more, he puts more into the film. The Girl From Monday is Hartley's second digital release, made on a shoe string budget, but unlike The Book of Life it succeeds where the former fails. Hartley drops us into a dystopian future that essentially is the present. His characters don't exercise control by robotics or some other technology, but simply through libertarian principles taken to their extreme, neuro-economics, and the logic of commodities. In essence, they're an advertising company that commodifies sex into The Rebel Sell. Sex becomes a subsidy for competitive consumption.

The Girl From Monday's only major flaw (like a lot of independent pictures) is a little to much white space. We're at times given long semi-epic moments of solitutude to further reinforce the hopelessness of the protoganist's situation. While Henry Fool or no such featured such moments, they occur as background around the events and ideas of the film, here they take center stage similar to the desolation in Shinji Aoyama's films.
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