This is one of many overlapping stories in THE FIVE SENSES. Each of them involves one of the five human senses in some way. Using this plot gimmick, Podeswa, an extremely gifted writer and director, never lets the limitations of the setup confine the bounds of his storytelling. The beauty of the story is that no matter how much we learn about each character, we are compelled to discover even more. Most writers introduce a dozen main characters only to the detriment of narrative clarity, but Podeswa manages to create complex characterization within the bounds of minimal screen time. His movie calls to mind Lawrence Kasdan's GRAND CANYON in the depth of its characterization.

THE FIVE SENSES in tone most reminds one of another Canadian film, THE SWEET HEREAFTER, but THE FIVE SENSES mixes comedy and romance with its tragedies. The deliberate and successful slow pacing works in both pictures, whereas slowness is usually cinematic death for a film.

The story that glues the others together concerns the disappearance of a 4-year-old girl, Amy Lee. One day at the massage therapist, Ruth (Gabrielle Rose), Anna (Molly Parker from KISSED) finds that Amy Lee is bored. Ruth asks her very reluctant teenage daughter, Rachel (Nadia Litz), to take Amy Lee to the park across the street to play.

Rachel is a sullen, unhappy kid with a lot of repressed anger. A 16-year-old high school dropout, she looks like a character straight from THE ICE STORM. She voyeurs life like a stranger from her nerdy glasses. While in charge of Amy Lee, Rachel wanders off to observe lovers in the park, and when she returns, her little charge is gone. Rachel feels terrible about it but stuffs her feelings as deep as she can. Only another outsider about her age, Rupert (Brendan Fletcher), can understand something of her angst, causing them to develop a strange bond.

In the same building as Ruth is an eye-doctor, Richard (Philippe Volter), who is going deaf. He becomes an audio voyeur and begins making a list of those sounds that he wants to listen to before his hearing goes. His character is reminiscent of the one from LAST NIGHT who had a long list of activities that he wanted to engage in before the world ended. Gail (Pascale Bussieres), a paid "escort" and sympathetic person, helps him in his quest.

The most interesting and unusual character is that of Robert (Daniel MacIvor), Rona's bisexual house cleaner, who has a remarkable gift of smell. Robert is on a quest to smell all of his previous lovers to see if any of them still love him. He explains that he can smell love and that he actually would not call his acquaintances "lovers" since he doesn't think any of them really loved him. Robert and Rona, one of his ex-flings, mentor each other in the ways of love. He is especially full of advice for her, most of which she agrees with but ignores anyway.

Robert is a funny, friendly guy, who is light-years away from the clichés we are normally presented with as gay people. His search has the same bittersweet tone as the rest of the movie, but his character works so hard to be happy that we could vote him "Most Wanting to Succeed." We root for him all the way even when it seems that no one appreciates him as they should. (He's also one of the best and happiest house cleaners you've ever met.)

The hauntingly beautiful music by composers Alexina Louie and Alex Pauk perfectly captures and enhances the mood of the film. Full of strings, wind instruments and dreamy voices, the score is striking in its emotional impact on the film and lovely on its own.

Eventually, the stories wrap up quite satisfactorily but without any unnatural convergences or actions. Like GRAND CANYON, you are left wanting to know more about what happens to your newly-made friends after the three days covered in the narrative. Podeswa doesn't insult your intelligence by providing some cheap epilogue. He leaves you free to use your imagination to decide how the rest of their lives turn out.

THE FIVE SENSES runs 1:44. It is rated R for sexuality and language and would be acceptable for teenagers.