Magdalen is a curious mixture of film noir and cinema verity, an effort which will probably be of interest to scholars, in the event that Andrew Repasky McElhinney becomes a cinematic force majeure. The problem with the film is that it never truly focuses on its profoundly intuitive theme--that life is largely illusory, a story made up out of whole cloth. The theme is best expostulated in the dialogue between Magdalen and Andrew, a dream encounter between the filmmaker (as God), and Magdalen (as His creature), in which God hands Magdalen the essence of Himself, to be altered, edited, adapted, or discarded as she sees fit. Beautifully shot in places, with a low bow in the direction of French existentialism and Eugene O'Neill, the film nevertheless lacks the skillful interweaving and truncation of thematic materials in A Chronicle of Corpses. Still, as the chanteuse says, "no regrets".