Like some of Bergman's film, Altman's feminist leanings are clearly evident in this fantastic filmed version of Shepard's theatrical play. And, like a play, the action is invariably confined to a stage-like set consisting of a small, dusty, motel complex, which acts as a suffocating backdrop to a mostly narrative driven film. For me May (Basinger) steals the show, creating a commanding female character that is pleasingly complex, being, for instance, vulnerable and attention seeking on the one hand and angry and violent on the other. Her other 'alf is an equally perplexing character called Eddie (Shepard) who smells of horses and wears patched up cowboy boots and allover denim. What appears to be a conventional mid-West cowboy versus blond floozy encounter slowly evolves to become something quite the opposite. Things are not what they seem. There is something mysterious about the Harry Dean Stanton character which, unfolding over time, explains, to some extent, the alcohol fuelled, irrational behaviour of May and Eddie. Altman has a knack depicting people on the periphery of society, away from the suburban dream, lost in indecision and poverty and subject to bouts of reckless behaviour. May and Eddie are such people and through Altman's lens and Shepard's words the viewer is offered an intense Texan love affair, including cows, guns and plenty of liquor.