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Emily tells her son Paul, now six years old, the story of his life - how she sought motherhood, to be a mom without a husband, to raise a perfect, exceptional child, whom she calls Loverboy. In flashbacks told around a pretend car trip they take - so he can practice driving - we see Paul's infancy, their fun together (sometimes with a manic edge), and his growing desire to go to school and be with other kids. We also flash back to Emily's childhood, with parents so bound up with each other that she's virtually ignored. Is Emily going to be able to let Paul be with others? Or, can she, as in the David Bowie song s...
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he sings at a school talent show, construct a life on Mars?
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Emily (Krya Sedgewick) has a single dream in life: to be the perfect mother to an exceptional child. With limitless funds from an inheritance, Emily has total freedom to follow her neurotic monomania. The first step is to conceive a child, and the film depicts her extensive promiscuous pursuits as she roams from city to city, a gamut of one-night stands. Finally her hunt for fertilization pays off, and she gives birth to Paul, her "loverboy." The majority of the story takes place when Paul is six, as Emily raises him with a fawning and sickening obsession. She struts around in various states of undress, kissing h...
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im constantly, and their relationship is less mother and child than freakish romance. She refuses to let Paul go to school, and in their allegedly Edenic isolation, they paint with their hands, whisper secrets to sheep, tell fairytales, and go on spontaneous trips to windswept islands. Paul, finally, with the precocious self-awareness typical of screenwritten children, rejects his mother's possessiveness and demands to join the other kids at school. This is more than Emily can handle, and in-between periodic flashbacks to her own traumatic childhood, the movie spirals down towards its inevitable and tragic conclusion.
Adapted from the novel by Victoria Redel, LOVERBOY contains a startling range of cinematic moods. The occasional soft-lit and slow-motion scenes create a dreamy soap opera quality. Montages set to rock music evoke the hip sheen of Sofia Coppola's THE VIRGIN SUICIDES. There are moments of campy comedy, as when Emily catches her neighbor breast feeding Paul as a baby, or in the caricatured depiction of her parents (played with gusto by Marisa Tomei and director Kevin Bacon). At other times, LOVERBOY metamorphoses into a horror film, with Sedgewick cast as the creepily sexy monster. The schizophrenic result is striking portrait of motherhood gone awry, a perverse love story that will leave you unsettled for days afterward.
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Een vrouw, als kind verwaarloosd door haar ouders, wil niets liever dan een kindje krijgen, en wel een hele bijzondere. Hiervoor slaapt ze met meerdere partners en probeert kunstmatige inseminatie, maar het mislukt en ze krijgt een miskraam. Maar dan ontmoet ze een vertegenwoordiger op doorreis en na een tijdje is Paul geboren. De vader is allang weg, maar Paul is het meest dierbare dat moeder ooit heeft gehad. Ze laat hem opgroeien in een droomachtige wereld, beschermd en onder volle aandacht, maar kinderen moeten naar school en krijgen een eigen leven...en dat valt niet zo goed bij zijn moeder.