Wide-eyed Pinky (Sissy Spacek) latches onto delusional Millie (Shelly Duval) until an accident causes a radical personality shift. Fascinating, subtly unnerving psychological mystery that provides a bridge between PERSONA (1966) and LOST HIGHWAY (1997).

When "3 Women" came out, I was 11. I have no memory of its release. Even at that young age, I paid careful attention to film. If "3 Women" had been released in the suburbs of New York City, where I lived, I would have known. I also would have known about it if it had received Oscar nominations. It received none. I became aware of "3 Women" in my 20s. When I was about 25 and in graduate school, I rented it. (Probably on videotape!) I remember thinking that it was one of the weirdest films I had ever seen. Not weird in an engaging way -- weird in an off-putting way. None of it made any sense to me. I would have given it a 2 or 3 rating. But I never forgot the film. Something about it stayed with me. Many times I felt the desire to try watching it again. Would it make more sense to me now? Would the older me see it in a new way? Would I ever figure out what Robert Altman was trying to do with it? Something kept drawing me back. It was a code I wanted to crack. After about five years on my Netflix queue, it finally came to the top. Twenty years later, I finally got my chance to view this enigma again. I'm happy to report that it was worth the wait. The older me did see it differently. I don't think it's a great film, but I certainly understand and appreciate what Altman was trying to do. Even with its flaws, which are considerable, I now feel that "3 Women" deserves its status as a classic of the American avant-garde. Not all the avant-garde classics are European! (But most are.) More details on plot later....