 What is ironic about "Unmade Beds" rejection from larger US distributors?
Dirty Laundry Now and then, a documentary film comes along that makes us re-examine the rules that unofficially govern the genre: Can there be a middle ground between fiction and fact? Can a documentary use scripted scenes and yet remain ontologically authentic? Unmade Beds , Nicholas Barker's " 'real life' feature film," has proudly worn its mongrel status as a "directed" documentary of single life in the big city, employing, in the face of criticism, what amounts to a cackling-punk defiance. The movie tracks four aging New Yorkers--two men, two women--through their lonely dating rituals, in the process depicting a universe of lusty, coupled-up haves and downcast, excluded have-nots, all viewed Rear Window -style through rectangular openings in the massive apartment houses in which they reside. Spurned by U.S. distributors, Unmade Beds opened two weeks ago in a small screening room in downtown Manhattan, where it proceeded to set box office records and generate lots of (largely favorable) press. Unmade Beds isn't just bad--it's obnoxiously, noxiously bad, a freak show for the empathetically challenged. Michael turns out to be the film's most sympathetic subject--by a wide margin. At least he's not Mikey, a paunchy 54-year-old who writes but can't sell screenplays and who always flees blind dates, because the women he gets fixed up with are "mutts."
 Smaller theaters will likely feature "Unmade Beds" merely for its controversial nature
 Larger theaters won't show "Unmade Beds" despite the fact that they show many similar films with less public contention  In overcoming criticism from larger US distributors, the four main characters of the film finally receive the redemption they've been seeking  Smaller theaters will likely feature "Unmade Beds" merely for its controversial nature  Its rejection from US distributors is a reflection of how American society spurns the film's four main characters