Perfect cast and a good story

Best movie of this year hands down!

Unshakable, witty and deeply felt, the film will be paying emotional dividends for a long, long time.

The plot isn't so bad, but the pace of storytelling is too slow which makes people bored. Certain moments are so obvious and unnecessary for the main plot. I would've fast-forwarded those moments if it was an online streaming. The ending looks like implying a sequel, not sure if this movie will get one

Director and screenwriter Carlos Brooks' feature film debut which he wrote, is inspired by an idea he had. It premiered in the American Spectrum section at the 24th Sundance Film Festival in 2008, was shot on locations in USA and is an American production which was produced by producers Sarah Pillsbury and Midge Sanford. It tells the story about a man with a paraplegic injury he got from an auto accident in the late 1980s named Isaac Knott who lives in New York, USA and who works for a radio company called Pure and Wise. After being informed by his co-worker named Edie about a caller whom has requested to meet him, Isaac begins working on a story about people who wishes to have their body parts amputated so that they can live their lives in a chair like he does. Distinctly and subtly directed by filmmaker Carlos Brooks, this quietly paced fictional tale which is narrated by the main character and mostly from his point of view, draws an understanding portrayal of an American radio host whom during his investigation of people with several forms of a psychiatric condition called Body integrity identity disorder, acquaints a single woman named Fiona who tells him that she specializes in Chinese art and ice cream. While notable for its distinct and atmospheric milieu depictions, reverent cinematography by cinematographer Michael McDonough, production design by production designer Roshelle Berliner and use of sound, colors and light, this character-driven and narrative-driven story about wannabes, pretenders and persons who for some reason think that the only way they can achieve completeness as human beings is by having an arm or a leg surgically removed, self-deception as a means for self-preservation and possibly sickly or irrational pangs of conscience, depicts a singular study of character and contains a great and timely score by composer Mark Mothersbaugh. This densely psychological, naturally humorous, cinematic and philosophically conversational indie from the late 2000s which is set during an autumn in America in the 21st century, where incomplete fictitious characters makes utopian deals with each other and where a man who claims that his ex-girlfriend named Raine broke up with him because he is a person with a disability and who although not believing in hope, hopes that he will walk again someday, finds a pair of effective shoes and a quid pro quo girl who not only has no apprehensions about him being in a wheelchair but also wishes to be in his situation, is impelled and reinforced by its cogent narrative structure, substantial character development, subtle continuity and the involving acting performances by American actor Nick Stahl and American actress Vera Farmiga. A serene, romantic and surreal narrative feature.

This film is about a paralysed radio presenter who meets a woman who wants to be paralysed, with unexpected psychological results to both of them.The initial hour of "Quid Pro Quo" is disguised as a fetishistic film about a woman who gets sexual excitement by living a paralysed life. it is a bizarre and incomprehensible topic which is likely to put people off. After looking beyond that, the film offers little to engage viewers. There is little to make people want to know what will happen to the characters.The last ten minutes improve substantially, as the sudden plot twist shifts the focus from a fetishistic emphasis to a moving drama about guilt and conscience. If "Quid Pro Quo" could expand on the guilt and conscience theme, and tone down on the fetishistic theme, then it would be likely to have more success.

I watch a lot films; in a week it differs from 5 to 10. This screenplay was unique in way that made me think about myself and life and how vulnerable we are. These two very interesting characters where the moment you met them you want to learn more about them is acted by two very talented actor/actress named Nick Stahl and elegant Vera Farmiga. Before the half of the movie I presumed the big twist about the Nick's character but it was hidden and portrayed in a fine way that when the answer is shown to the audience, you don't feel so much surprise but also you don't feel cheated in any way. Hence, it feels like life itself. Consequently, the ending which was very beautiful cinematographically with a touch of reality that makes it absolutely delicious that leads to pause when Nick's character ends the film with the line: Isacc Knott, Public Radio, New York.

I saw this film on the closing night of Sundance, mostly because all the other films I wanted to see were sold out. I'm glad I went. Nick Stahl and Vera Farmiga dance adeptly around and through the film's premise, which is coaxed pleasantly out of a screenplay that writer-director Carlos Brooks has polished over seven years.Stahl plays a public radio reporter confined to a wheelchair since a childhood accident. While following a lead in a bizarre story, he meets Fiona (Farmiga), a mysterious woman who leads him into a reclusive subculture. At first, microphone in hand, he wants the story. But then a trip to a second-hand store for some shoes convinces him the story isn't what he thought it was.The Sundance catalogue billed it as a "psychological thriller," but in my opinion that misses the mark. Yes, we're introduced to some oddly quirky characters along the way. But Brooks bills is as a detective story, and that's how I think it's best approached. It's an exercise in restrained exposition that keeps the viewer guessing right up until the film's final scenes.As with most independent films, this one makes good use of small-scale locations and intimate moments. Even the Manhattan exteriors favor enclosed sidewalks and narrow passages. The cinematography, done on high-definition video, is crisply executed and richly textured with subtle but effective details. (The lustrous wallpaper in Fiona's apartment actually has its own screen credit.) The camera spends a great deal of time at the eye level of a wheelchair occupant, emphasizing the point of view and expanding the small spaces in which many of the film's scenes take place.Stahl and Farmiga drive a substantial portion of the film by themselves. Brooks admits that the their story took over the film as he shot and edited it. As a result the supporting ensemble retreats to the distance, a position from which performances from James Frain (as Stahl's mentor) and Michal Leamer (Fiona's mother) can give brief but memorable performances.Vera Farmiga creates a complex character whom you can't help loving, hating, and fearing all at the same time. Nick Stahl's performance stays even and understated until his veneer breaks apart and the detective story comes full circle.The only negative aspect to the film is the frank treatment of the subculture that frames the principal characters, not because the treatment is unfair or poorly executed, but because it's likely to take the average viewer by surprise. Look for wide release in May 2008.