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Pinky survives the suicide attempt but goes into a coma.

Millie, feeling responsible, begins to visit Pinky daily.

Writing for The New Yorker, Michael Sragow remarked "In the Robert Altman canon, no picture is stranger—and more fascinating—than this 1977 phantasmagoria," adding it is "full of images so rich that they transcend its metaphoric structure," praising Duvall.

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Millie becomes increasingly frustrated by Pinky's imitative shift in personality, and begins to exhibit Pinky's timid and submissive personality herself.

In one scene, Millie's character's skirt gets stuck in a car door.

This initially happened accidentally in one take, after which assistant director Tommy Thompson called for a cut.

Greven wrote the film also demonstrated a focus on strong female characters.

Writer Frank Caso identified themes of the film as including obsession, schizophrenia and personality disorder, and linked the film to Altman's earlier films That Cold Day in the Park (1969) and Images (1972), declaring them a trilogy.

Millie becomes increasingly frustrated by Pinky's imitative shift in personality, and begins to exhibit Pinky's timid and submissive personality herself.In one scene, Millie's character's skirt gets stuck in a car door.This initially happened accidentally in one take, after which assistant director Tommy Thompson called for a cut.Greven wrote the film also demonstrated a focus on strong female characters.Writer Frank Caso identified themes of the film as including obsession, schizophrenia and personality disorder, and linked the film to Altman's earlier films That Cold Day in the Park (1969) and Images (1972), declaring them a trilogy.One night after Pinky has a bad dream, represented through an abstract montage of Millie crying and Willie's bizarre murals, a drunk Edgar enters their apartment and awakens them, initially making moves on Pinky before casually telling them that Willie is about to give birth.