Slow pace in the most part of the movie.

This is a tender, generous movie that likes its characters and presents them as real people, full of flaws and strengths.

Excellent and certainly provocative... If nothing else, the film is a real conversation starter.

Actress is magnificent and exudes a hypnotic screen presence in this affecting drama.

In England, the psychopath Eunice (Amanda Plummer) takes rides to gas stations seeking out a song and a woman called Judith that would be in love with her in the cashier of convenience stores. When she takes a ride, she usually kills the driver and leaves the car on the next gas station. When Eunice stumbles upon the naive lesbian Miriam (Saskia Reeves), she brings Eunice home to stay with her. But Eunice wants to find Judith and Miriam decides to go with her. Soon she realizes that Eunice is insane and bipolar but she follows her in her crime spree."Butterfly Kiss" is a disturbing but also boring movie directed by Michael Winterbottom. The weird Amanda Plummer is in the top of her career quite immediately after "Pulp Fiction" but the plot is too sick and repetitive. Maybe in 1995 this film could be more attractive, but today it is annoying. My vote is four.Title (Brazil): "O Beijo da Borboleta" ("The Butterfly Kiss")

I don't know if Eu is Bi-Polar because all I saw was raging mania; probably schizophrenic. She says what she wants, she does what she wants, and, when she takes off her shirt, you know she'll never be flying. So, she kills a guy and takes his van. This is a bit much for Mi, but she goes along anyway. Mi is the complete opposite of Eu. Naive and lonely and in real need, she hangs on for dear life.Amanda Plummer (The Fisher King, Miss Rose White) nailed this role in the performance of a lifetime. I cannot imagine anyone else playing Eunice (Eu). Saskia Reeves as Miriam (Mi) showed a sweetness that prevented her from objecting too loudly to Eu's deeds, until she transforms herself.Michael Winterbottom's (A Cock and Bull Story, The Road to Guantanamo) idea was developed into a great script by Frank Cottrell Boyce (A Cock & Bull Story). Winterbottom directed this film in a manner that your attention was always focused on what these two would do next.The van is switched for a car and the bodies are oiling up as they travel across the country. We never really know who "Judith" is, and it really doesn't matter as it is probably something deep in Eu's madness.Quite a different ending than Thelma and Louise.

Seeing that so many people have gone out of their way to denigrate Butterfly Kiss, I feel constrained to weigh in on its virtues. It is not a Hollywood entertainment, nor is it a Jane Austen prestige picture, or a politely naughty comedy for the art house crowd. It's a movie for people who are willing to risk a certain amount of emotional discomfort to gain the benefits of experiencing the world through unaccustomed perspectives. It's for those who want to learn about human beings on the margins of society, the forgotten, the pathological, the lost.It's the sort of film that can't be appreciated without a high tolerance for unsympathetic protagonists, unreliable narrators, unintelligible motivations, and morally ambiguous conclusions. In short, Butterfly Kiss demands an intellectual curiosity and nimbleness of mind that's not always characteristic of American audiences.This is not to argue that it's necessarily a good film, or successful at achieving its ambitions. More than once, while watching it, I found myself wondering how much relation to real people this story might actually have. Unlike Monster, with which it has obvious parallels, Butterfly Kiss doesn't appear to be based on factual events.The film's ability to cause me to "suspend disbelief" suffered from a touch too much Grand Guignol excess and, perhaps more damningly, writerly artifice. (For no clear reason, the protagonists are named "You"(Eunice) & "Me" (Miriam).) But the characters kept on surprising me, which indicates, if nothing else, that there's something vital and alive about this story. By the end, I was moved to pity for these two deeply damaged women, and, perhaps more importantly, I was moved to compassion.For that, I'd sit through an unpleasant movie any day of the week.

If you generally don't like murder films you'll hate this movie, never mind the fact that it's actually very good. Very little heed (if any) is paid to the numerous victims, their bodies falling to the side of the storyline as the obsessed female lovers move on, taking the plot with them. Butterfly Kiss introduces two startlingly distinctive, unique women, opposites drawn together by loneliness and a need for balance. Eunice is a dispairing, tortured soul who searches the bland, grey motorways of England for the ever-absent Judith (does this abstract individual really exist or is she another figment of Eunice's amazingly complex and unstable psyche?). People who turn out not to be Judith tend to end up the victim of Eu's homocidal wrath (note though that Judiths importance to Eu was going to end up in mortal sacrifice also). Eunice has no inhibitions, no scruples; her behaviour is repulsive, obnoxious, sexually promiscuous, extravagantly moody. She acts purely on impulse and instinct, rarely using her devastated mind, for Eunice actually wants to be caught, and wants to be punished. In fact, she consistantly pushes her luck in aggravating people, beleiving God (and I guess the rest of the world) has forgotten her. Consequently she is forced to punish herself, wrapping her scrawny body in chains that hurt and bruise her. It is quite possible that a lot of her other actions throughout the film, which are illogical and cruel up front, are more attempts by Eu at self-punishment though that is left for the audience to mull over. Miriam, by contrast, is water to Eu's fire, a metaphor even she explains in her black and white interveiws dotted throughout the film, as she tells their story to a camera. Miriam at first looks to be dim, naive, childish and ineloquent in her speech. Reading between the lines this version of Mi fails to convince, instead giving the image of perceptive, open-minded in the extreme, generous and angelicly kind. Whether this was supposed to be Mi or was Saskia Reeves' true intelligence mistakenly worming its way to the surface is unknown, and it doesnt really matter -the character was nontheless, adorable. As lonely and love-starved as Eunice, their similarities end there. Mi is totally honest and forthcoming; her love for Eunice is complete and unconditional. Along with being painfully direct, Eunice is also implicitly dishonest. When Miriam discovers Eu's homocidal nature she is already in love. She disposes of the body without encouragment from Eu and sets out to support Eu and make her a better person. Rather she becomes a murderer herself, though through more subtle indications she retains all the original beauty and kindness of her placid personality. People who may dislike this movie are being subjectively incorrect in saying that it isn't good. Truly it is not a pleasant film to watch but it is still a worthwhile peice of artistry riddled with talent.