Sula is a story centered in a small town called Medallion, Ohio. The novel tells of generations of the families that inhabit this town, and focuses chiefly on the youngest generation-that of Sula Peace and her best friend, Nel Wright. The two girls become friends, finding comfort in their similarities. Together, they grow into women and have a bond that, while unspoken, is strong enough to ultimately overcome any adversity. Nel is married at a young age and settles into the life of a housewife, while Sula ventures out into the world, attends college, and doesn't return for ten years. Despite this separation, upon their reunion, the affection between the women is as strong as the day on which they parted. This kind of bond is uncommon at best, and the love between the two, though it grows strained, is constant.

Seemingly undermining this constant love and performing what most would consider the ultimate betrayal, Sula sleeps with Nel's husband, Jude. Jude leaves his family; Nel is heartbroken and distances herself from Sula. Nel is convinced that what weighs on her is the absence of Jude; she believes that she misses him and cannot forgive Sula for what has happened. She begins to see a gray ball over her shoulder made of “muddy strings” (109) and hair. Nel does not know what the ball is or why it follows her, but she fears it. Finally, at the end of the novel, when Sula dies and Nel overcomes her grudge, the ball explodes, and Nel realizes that the ball was her own sorrow for missing her best friend, not her husband. Through all things-even what seems a complete betrayal, and the hurt feelings that follow-the friendship between Sula and Nel survives.

A friendship much like Nel and Sula's develops in Almodovar's Bad Education. Enrique and Ignacio meet and become friends when they are very young, in religious school. They quickly bond over their love of the cinema-particularly Sara Montiel-and soon, discover a love for each other. The two boys explore their sexuality together and become very close, as a result. In the midst of their blossoming relationship, the school's principal, Father Manolo, develops feelings for Ignacio and begins to act on them. The Father soon realizes that there is something between the two boys and separates them by expelling Enrique from the school. Several years later, masquerading as Ignacio, his brother Juan enters Enrique's office, offering a script for a film and himself as an actor. From the start, Enrique senses a problem with his “friend,” not recognizing him at all, and rightfully so, as Juan is not who he claims to be. Enrique's uneasy feelings around Juan demonstrate the power of his and Ignacio's relationship, as the audience can read in his face that he never quite trusts Juan. After the film is made and all of the mysteries are solved, Juan gives Enrique a letter Ignacio was writing just moments before he died. This letter is a symbol of the love between the two friends-Enrique being the last person Ignacio thinks of before his death. The film's close, an epilogue of sorts, informs the audience that Enrique continues to make films with passion to this day, a testament to the passion he first discovered with his childhood friend. Ultimately, the friendship of Enrique and Ignacio is greater than the intrusions of those around them, much like that of Sula and Nel in Morrison's novel Sula.

Stories of great friendship are all connected, just as those who share in a great friendship. The relationship of Sula and Nel, and that of Enrique and Ignacio are such great friendships, because they overcome whatever is thrown at them. This is why the theme of friendship is greater than those of superficial matters-friendship endures.

It's All About Love is an odd title for a film that deals with almost anything you can think of; from fame to climate change, to figure skating, marriage, cloning, murder, betrayal, the disappearance of gravity, bystander apathy, and cardiac arrest. And of course, love. So it's strange that a movie that has something for everyone is not for everyone. It requires that you forget everything that you once knew about plot, and how a film should unfold, and just go along with it. Even though it brings you to a place you might not understand. The tone is like that of a fairy tale, or a fable.

We open in the year 2021. Due to climate change, the world is entering a new ice age, while in Uganda, gravity has disappeared leading to “the flying Ugandan phenomenon”. In New York, people's hearts stop beating, and they die suddenly in the streets, while pedestrians apathetically step over their bodies. This is the setting into which a young Polish Literature professor, John Marchevsky (Joaquin Phoenix) enters. John is on his way to a conference, but plans to make a stopover in New York to sign the final divorce papers with his wife, the world famous figure skater, Elena (Claire Danes). But when John arrives at the airport, Elena is not there. In her place are lackeys who bring him to her hotel. Things seem strange from the beginning. Elena is constantly surrounded by her sinister entourage/family, and when she and John are alone she confides that her life may be in danger. Elena is unwillingly at the center of an ominous conspiracy, but even she does not know the full extent of her involvement. So, John and Elena go on the lam, rediscover their love, and learn that the fate of their relationship has tremendous cosmic implications.

Many critics have attacked this film for indulging in absurd plot twists and delusions of philosophical grandeur. To this I'd say that from the first scene when we are told that the year is 2021, everything is fair game. The viewer must automatically suspend disbelief, and be willing to participate in a dream (or a nightmare). Regardless of absurdity (which may be intentional) there is certainly little to attack in the way of the performances (except for some iffy Polish accents). Phoenix's performance captures the desperation of a man trying to save the woman he loves (he particularly shines in the “ice ballet” scene). Danes' performance depends on her successful depiction of a woman whose needs are fractured by the demands of numerous people. Danes rises to the challenge. At one point we see her play four different characters. Sean Penn shines in a small role as the film's narrator “The Man in the Plane”. Vinterberg's direction draws inspiration from sources as varied as Alfred Hitchcock, Lars Von Trier, and David Lynch. Even those who take issue with the script and the actors must admit that the film is beautifully photographed.

Some people will doubtlessly come out of this film feeling cheated out of 90 minutes of their lives. Others may think about this film for days and decide to see it again. Whether you think the film succeeds or fails, you can't argue that it isn't unique and original: something that is rarely found in movies these days.