Mark Rappaport's second feature film (amongst a remarkable string of off-beat, experimental narratives that runs from CASUAL RELATIONS to CHAIN LETTERS) takes off from the deliberate anachronism of using modern props, performance styles and attitudes to evoke the romantic entanglements of the young Wolfgang Amadeus Mozart (Rich La Bonte) with three sisters: Constanza (Margot Breier), Sophie (Sasha Nanus) and Louisa (Sissy Smith). This melodramatic plot of rejection, pining and sacrifice may have its basis in reality, but everything else is strictly stylized: back-projected settings, mix-and-match historical costumes, primary-colored walls, actors striking poses and the miming to records of Mozart arias, frequently interrupted by the raw audio track of real, untrained singing. For Rappaport, the ideological myths we internalize and the soap operas we live have to be exposed and mocked, just as the constructed illusion we call filmic realism has to be relentlessly dismantled. Both very much of its time (a cousin to contemporaneous works by Yvonne Rainer) and ahead of its time (anticipating the droll strategies of Hal Hartley), MOZART IN LOVE offers a handy checklist of the many acute, often hilarious games of disenchantment devised by this ever-inventive artist. "*An irreverent take on Mozart's relations with the three Weber sisters: Louisa, whom he loved, but who didn't love him; Constanza, whom he loved and married; and Sophie, who loved him but whom he didn't love. An anthology of arias from Mozart's operas, in which art comments on life through a cheeky use of back-projection and miming to records.*" —Ian Christie, ***British Film Institute***