- Early December, New York City, and everyone is in the hunt for love. Why? Because they haven't found it. They make it into a myth and chase the myth instead. That is not Love in this Romance of fantasy, Fate, and yearning.
- Early December, New York City, and everyone is talking about something. Their lives. But, no, something more. Love. They are in the hunt for love. Why? Because they haven't found it and because they haven't found it, they imagine it. They make it into a myth and chase the myth instead. And that is not love. Meet Frank. Frank's not young. Meet Reyna. Reyna is young. They become lovers, but Frank winds up back at the fragile altar of his 30-year marriage to Paula. Who'd he pick? Two Irish Construction Workers dig for the answer in the myth of Tristan and Isolde. Do we make our own choices or does Fate do it for us? And in the meantime, all we have is the Chase in this ever-clash between the erotic and the domestic, between myth and mortality, between you and the one you're still looking for. Chase on.—Stephen Keep Mills, writer/director Love is Not Love
- On an early December New York sidewalk, as passing pedestrians vent their domestic dissatisfactions, Joelle, a street-performer begins the story of Frank, 60's, an Everyman blinded by his fantasies. He walks behind two Irish Construction Workers who dissect the Romantic myth of Tristan and Isolde.
In a museum line, Frank turns to face a beautiful stranger. She walks away. Frank gives chase through the city. She is Reyna. She is an escort. Their love grows. Each is married. On his birthday, she asks to be a couple in the world not just in her bed. Their story dies at the dead end of truth as they realize their lives cannot succeed in fantasy.
Frank's 30-year marriage to Paula has become surreal. He takes out the garbage and becomes Sisyphus. Their marriage is a stage play, he's the Beggar, Paula's the Queen. For morning coffee, Paula-as-Prosecutor, lays out the case that he's the last person she wants to get her naked. Paula confronts Frank in their kitchen at night and he tells her a "true" story about a fictional "Franco" who fears death, unable to use his masculinity to survive. On Valentine's Day, he tells her his dream where he becomes invisible.
The Construction Workers compare Valentine's Day to the Massacre. They put money in Joelle's box. She rewards them as they meet two young Irish women in line to buy a sandwich at Mohammed's cart. They recite a lullaby in Gaelic and are delivered from isolation. Frank walks alone in Central Park, as old as the leaves that fall behind him.
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