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The great midcentury director's final film follows a female wrestling duo trying to eke out a victory on the road. T he California Dolls—two female wrestlers on the precarious, almost-more-than-amateur circuit—and their trainer/manager/driver/publicist/agent are driving along some truss bridge deep in the crevices of the Rust Belt, casually arguing over the health detriments of cigarette smoking.
The work of an unsung, but essential Soviet director is ripe for discovery via a YouTube channel. T o fully acclimate himself to the script for an impending film, the Soviet director Boris Barnet would cut up the writer’s work and reassemble it atop a continuous scroll because “a script must be spliced into one roll, like a film.
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