BelSports This is a coming of age storyline that you've seen in one form or another for decades. It takes a truly unique voice to make yet another one worth watching.

Brennan Camacho Mostly, the movie is committed to the value of a good time.

Edwin The storyline feels a little thin and moth-eaten in parts but this sequel is plenty of fun.

Cassandra Story: It's very simple but honestly that is fine.

iamtriker Alexandra is a college student trying to make ends meet for her expensive apartment by becoming a call girl. She is attractive, but has a sullen personality that makes you wonder if she finds anything in her world interesting. And as the film progresses she manipulates others, including her father, through her constant scheming, and lying. Unfortunately she eventually turns a trick with the wrong guy and while she manages to slip away from him, his presence remains throughout the film. Despite not liking Alexandra, I found I wanted her to reform, love her father and escape all that set her on the wrong path. Better than I thought for a low budget eastern European movie.

picturesque-arts This film started off with a strong and exciting plot. The tension between Alexandra, her friends and Greg piqued my interest in each character's development, and the horrifically realistic scene with the pimps had me on edge and biting my nails. These were two things that were done especially well. But soon after that, the plot and character development began to degrade, as nothing but minute details occurred from then on - none of which had any substantial effects on Alexandra's character or emotion. Many pressing aspects of the plot were left unfinished in this movie - from the "tumor" idea to her relationship with her mother; to the whole deal with the pimps; to her ambitions after the exam. There is also no real resolution with her father, Vesna or her mother. I felt like the middle and end of this film turned into nothing more than unnecessary scenes of her riding the train back and forth between her home and the city. Not to mention, Alexandra has no true inner desire - she seeks neither love nor a deeper relationship with her family and friends. This idea of living in her nice apartment overlooking a highway being the sole reason she sells herself is rather unsettling, because honestly, she shows little attachment to the place except when she's showing it off to her friends. Perhaps a slightly more compelling ambition would have made me like her character better. Overall, like another reviewer said, this film is very nihilistic. The lack of emotion and character change (besides the balcony scene) leave for a bland, repetitive and static storyline. I feel like if the film had continued its momentum from the first section of the movie, it would have been a gripping and worthwhile film.

kathideca I might have seen something similar on this website I think //www.universal-escort.com/ by the way it's a really interesting story. some friend of mine have been doing escort, and they had some similar story.Some had more chance, some other less. I think trying to "conquer" the world while being a prostitute is a complicated. people won't have a good opinion of you.Much of what we see are all the practical problems and little details of a call girl life: multiple cell phones, code names, harassment by pimps, dying clients, mentally unstable clients, unattractive (downright ugly?) clients, continual fear of exposure, suspicion from hotel staff, inability to ask police to intervene normally, unwelcome carryover of massive lying and acting into other areas of life, difficulty balancing two separate lives (sleep, deadlines, finances, etc.), and so on.

charlytully Obviously, SLOVENIAN GIRL director Damjan Kozole adheres closely to the Lars von Trier school of filmmaking: make the viewing experience as unpleasant at possible for the watcher. While a plot about an under-supported coed making her way through her higher learning by dabbling in the elder professions has been pulled off loads of times in an interesting fashion (CITY ISLAND comes first to mind among movies contemporary to SLOVENIAN GIRL), it usually requires an erotic element to nail such a story down. Unfortunately, Nina Ivanisin as the title character in Kozole's film does not strike one as a convincing 20-euro-a-crack call girl, let alone meriting the 200 euro specified in this story. Further, the actors playing her johns seem hard-pressed to avoid demanding their money back during the few parting scenes Kozole incorporates into SLOVENIAN GIRL. Last night I saw a similarly-themed film from Israel (THE ASSASSIN NEXT DOOR, written and directed by Danny Lerner). Though Olga Kurylenko as the latter title character has NO sex scenes in her guise as an erstwhile hooker, she exudes more erotic appeal than Ivanisin manages during the entire running time of SLOVENIAN GIRL.