The sad irony behind "DiDi Hollywood" is that while it's a film about an actress reaching the top, it reps a once-illustrious helmer hitting the bottom.
The sad irony behind “DiDi Hollywood” is that while it’s a film about an actress reaching the top, it reps a once-illustrious helmer hitting the bottom. Predictable, confused and cliched, this second entry in Bigas Luna’s projected trilogy about Spanish women seeking success reveals nothing about either ambition or fame that celebrity mags don’t say every day, while its heroine provokes only viewer indifference. Pic has performed discreetly at home, but might benefit marginally offshore from Luna’s rep.Bar worker Diana Diaz (Elsa Pataky) leaves Madrid for Miami and then, with new b.f. Robert (Luis Hacha), heads for Hollywood, prepared to do anything for fame. She meets agent Michael McLean (Peter Coyote), who changes her name and sets up a mutually beneficial image-saving relationship between Diana and gay actor Steve Richards (Paul Sculfor). The script proves unable to make DiDi’s journey interesting or credible, while the uncharismatic Pataky is unconvincing as star material. Coyote delivers industrial-grade dialogue with weary irony. The most arresting scene in this sometimes offensively voyeuristic exercise has the baffled DiDi being carefully wrapped in plastic for a millionaire pervert.