Silver has gravitated away from Cassavetes, it seems, and toward the influence of another Hollywood maverick: Samuel Fuller, whose idiosyncratic riff on the hooker with the heart of gold, The Naked Kiss, Silver cites in Head's hair-pulling opening scene. This change in temperament proves a considerable maturation. The bewigged heroine in this case is Natalia (Sheila Etxeberría, who delivers a performance of extraordinary intensity), introduced drunk and harried and rarely glimpsed, throughout the 72 minutes to come, in any other state. Noisily ejected from her boyfriend's New York apartment one evening in a fit of sobbing and rage, Natalia hits the streets, penniless in a cocktail dress, before blithely disrupting the otherwise quiet Shabbat dinner of a friend.
From here we're whisked through a sort of urban picaresque: Natalia is soon taken in by the denizens of a makeshift homeless shelter, a refuge for the down-and-out that Silver renders with a novelist's eye for detail. The turbulence that follows is surprising, challenging, and never less than thrilling.