It’s hard to believe that liquorice pizza is the first Alana Haim movie.
The disarray, the tons of charisma and the sparkling chemistry that she has with Cooper Hoffman at her debut as an actress is harvesting enthusiastic criticisms, nominations (the BAFTA and the Golden Globe) and it is not for less.
In the film interprets a 25-year-old girl from contradictions: whimsical and generous, undecided but brave, Alana tries to find herself and, already, in passing, something that rescue from an asphyxiating home of Jewish middle class, marked by a
Father controller and the weekly shabath soporifer.

Real-life Alana has just turned 30 and a decade ago mounted the Haim music group with its older sisters, East and Danielle.
Daughters of an Israeli exfutbolisa that moved to the United States to play in the 80s and an art teacher, music has always been very present in the family.
All Sisters have studied arts and music, play several instruments (in direct they usually alternate battery, keyboards and guitars) and when I was girls they had a group with their parents, Rockinham, with whom they made versions of rock themes of the 70s and
The 80s. To that sound more or less Haim: Tom Petty and Fleetwood Mac, and also a little to the commercial pop of the 90s with which they grew up, such as Shania TWAIN.

Alana and PTA have been known for years and that trust explains, only in part, its innate comfort in front of the camera.
The Demagnolia director has been filming the sisters a decade: he has directed eight of his video clips (in many of them they leave doing what makes Alana so well in liquorice pizza: walk and run through the streets of Los Angeles in Traveling) and took care of
The artistic direction of its latest album, Women in Muisc Part III.

The premiere of the film has also served to reveal the connection between the director of Boogie Nights and the Haim, which are neighbors like him from the San Fernando Valley.
When they published their first single in 2012, Forever, the filmmaker invited them to dinner.
It was then when he discovered that they were daughters of Donna Rose, who had been his elementary art teacher and from which the director of ambition wells was in love, to the point that he keeps a drawing he made in his class (Data for the
Very fans of PTA: The drawing is from the mountain of meetings in the third phase).
The mother, Donna, is curiously the one that appears least in the film, where the whole family has cameos.
We intuite, of course, that Alana gives off vibrations very similar to PTA childhood platonic love.