A series of snapshots from the life of a fictional actress named Shirley serves to weave together thirteen paintings by Edward Hopper (e.g. “Office at Night”, “Western Motel”, “Usherette”, “A Woman in the Sun”) into a fascinating synthesis of painting and film, personal and political history. Each station in Shirley’s professional and private life from the 1930s to 1960s is precisely dated: It is always August 28/29 of the year in question, as the locations vary from Paris to New York to Cape Cod.
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On the same day Abbey is diagnosed with ovarian cancer, she and her girlfriend, Miranda, are invited to dinner by Miranda’s former self-help group to celebrate the return of their estranged friend, Scott, who left to discover the origins of their practices. Throughout the night, Abbey realizes that all is not as it seems, that no one is as who they’ve portrayed themselves to be, and that Scott and the others have their own sinister methods by which they intend to heal her cancer-wracked body.
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Kang lives alone in a big house, Non in a small apartment in town. They meet, and then part, their days flowing on as before.
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