In a just and benevolent world, Season 4 would already be a reality, but there’s something poetic in the ending as it stands. Watching the three of them fit into each of their lives’ as they change is also watching “Lovesick” sharpen its jokes, experiment even further with its formal conventions, and skirt around the pitfalls of the genre. And Evie is the one with more emotional maturity than the both of them, who stays in their lives out of a genuine sense of friendship, but maybe for another reason she can’t always admit. Luke is the commitment-phobic, self-fancying Casanova who deep down just wants to be loved. Dylan is the hopeless romantic who somehow stumbles backward into being charming. The main trio still keep their defining qualities. While it certainly isn’t afraid of slapstick - McGuire’s performance on this show is like training for the Pratfall Olympics - another one of its joys is seeing effective character growth. In lesser hands, “Lovesick” would be framed as just a cartoonish parade of uncomfortable conversations. It’s an early preview of the missed chances and close calls that pepper the rest of the series, particularly while Dylan and Evie manage to find certain stretches of happiness on their own.
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Most unmistakably, it sets up the “two ships passing” nature of Dylan and Evie’s sometimes-more-than-friendship, a font of confusing and conflicting feelings that only the best romantic comedies know how to grapple with. In between music video projects and commercial shoots, Moors is currently working on a feature-length political satire film entitled Bobby Fox.The Best Thrillers Streaming on Netflix, from ‘Nocturnal Animals’ to ‘Emily the Criminal’ Alexandre also directed last year’s glitterball-powered music video for Don Toliver’s internationally-recognised track 'Do It Right.' This video also comes on the heels of a recent VMA win for Moors, for the Miley Cyrus music video, 'Mother’s Daughter.'
This collaboration is not the pair’s first. “There was such a collaborative spirit to this project, and Rotation s the perfect team for this film.” “Hip hop is the world I feel most comfortable in, and it was exceptionally fun to build a narrative around this ‘70’s disco playground Don and his team had already envisioned,” said Alexandre. The fast-paced and ultra-creative nature of writing and directing 'Love Sick' allowed Alexandre, who grew up in the Paris graffiti scene and rubbing shoulders with rappers, the freedom to play and to improvise within a colourful, larger-than-life universe. Porto, who Alexandre collaborated with on his 2013 award-winning feature film Blue Caprice, bring an overarching narrative to 'Love Sick' that heightens the visceral punch of this seductive and visually dazzling short film. Set in the disco 1970s and centred on Don Toliver as a womanizing café owner running some nefarious business behind the scenes, 'Love Sick' is punctuated with lust, humour, superstition and tragedy as it highlights moments in the lives of Don, the waitress, the patrons, the cook, the girlfriend, and the cops whose destinies have intertwined with the greasy spoon.Įxpanding on Don Toliver’s film story and vision, Alexandre and screenwriter R.F.I. 'Love Sick,' presented by Rotation, Amazon Music’s hip-hop and R&B brand, and airing exclusively on Prime Video starting this Friday, is the result of an electric collaboration between Don and director Moors, who is known for his long career making dramatic, sultry, and narrative-forward music videos with high-profile musical artists like Miley Cyrus, Kendrick Lamar, and Juice WRLD. Alexandre Moors, long-time director with creative production studio Good Company, has teamed up with rapper Don Toliver and Amazon Music to create 'Love Sick,' an episodic, Goodfellas-inspired short film that pairs with Don’s new album Love Sick, via Cactus Jack/Atlantic Records.
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