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COLORI DELLA MATEMATICA - EDIZIONE VERDE VOL. 3 + EBOOK con ISBN 9788849423327 scritto da SASSO LEONARDO ZOLI ENRICO , ora disponibile su Bancolibri.it nell'edizione edita da PETRINI nel 2019 .
| ISBN | 9788849423327 |
| Anno | 2019 |
| Editore | PETRINI |
| Autore | SASSO LEONARDO ZOLI ENRICO |
As both actress and quasi-subject, DuMonde delivers a raw, unpolished performance. Her real-life background (she was an emerging indie actress and writer) adds a layer of authenticity. The film was marketed as “based on real experiences,” though the extent of factual truth remains ambiguous.
The Appointment (alternative: The Appointment: Alyssa DuMonde ) Year: 2002 Director: Peter M. Musante Starring: Alyssa DuMonde (as herself / the central character), Peter M. Musante, Charlene Biton Feature Highlights: 1. Real-Life Psychological Premise The film blurs the line between fiction and documentary. Alyssa DuMonde plays a version of herself — a woman struggling with a traumatic past involving an abusive relationship. The plot centers on a single, fateful “appointment” with a mysterious and manipulative figure (played by Musante), who forces her to confront buried memories. The.Appointment.Alyssa.DuMonde.2002
Here’s a feature-style overview of the 2002 film The Appointment (also known as The Appointment: Alyssa DuMonde ), based on available information. The film is a low-budget independent psychological thriller/drama. As both actress and quasi-subject, DuMonde delivers a
As of today, the film is obscure — not available on major streaming platforms. It occasionally surfaces on DVD-R or via cult film forums. The director, Peter M. Musante, later worked on other no-budget thrillers but never achieved mainstream success. If you’re researching this film for a review, retrospective, or academic piece, I recommend tracking down a copy through specialty indie databases or contacting film preservation groups focused on early-2000s American underground cinema. Real-Life Psychological Premise The film blurs the line
The Appointment never received wide distribution but gained a small following in early-2000s underground film circles, particularly among fans of micro-budget psychological horror (e.g., early Lucky McKee or The Last Broadcast ). It’s noted for its eerie sound design and unsettling ending.
Critics were divided: some praised its raw, experimental approach to trauma; others found it amateurish or exploitative. The film has been discussed in context of “extreme indie cinema” and the difficulty of depicting abuse without sensationalism.
