This continues with a recent trend in cinema in dealing with a rather contemporary phenomenon that of same sex couples and the challenges they face. The heroine in this story is trapped by her partner who is driven, successful provides a nice home for both to live but totally neglects her as well as her needs. Everything is about the alpha female spouse. But there's two in a marriage right?

As part of an effort of self exploration as well as increasing unfulfilled sexual needs she rents an apartment down town and makes it something of a lesbian brothel which causes something of a transformation in her in the sense that from feeling inadequate and incomplete, suddenly she is filled with capacity to give pleasure to those who come her way.

Such as is the nature of experiments like this, as the story progresses it leads to one big question: how long can/will she carry on leading a double life?

Captivating and poignant, it is another gem of indie cinema.

. . . lesbians married to each other are sort of asexual unless they suffer a concussion. The movie begins with divorce lawyer Kate Abelman (Julie Fain Lawrence) and her wife, interior designer Abby (Robin Weigert) stuck in a routine of raising their two elementary or Pre-school children, taking care of the house, going to work, and working out (Abby is some sort of a fitness freak, running in her neighborhood, running on a treadmill, pedaling in a gym with a horde of other women on long ranks of stationary bikes, etc.). On the rare occasions when Abby "is in the mood" for loving, she wakes up Kate, who reaches over to get something started--but falls back asleep 8 seconds later! This story implies things would continue like this indefinitely, but Kate and Abby's son pegs a baseball off the corner of Abby's left eye so hard (WHO taught him to throw like this? = CONCUSSION's big mystery) she suffers a bloody concussion. As soon as her eye is healed, Kate takes "Eleanor" as her new sex worker name, and starts getting naked with any female who has $800 to spare. When the other Junior Leaguer soccer moms at her kids' school (in this case, it's lacrosse) start climbing in bed with Abby/Eleanor, things get complicated at the local grocery store.

Robin Weigert stars as Abby, a bored suburban lesbian housewife who seeks to turn her sexual fantasies into reality. When she's hit in the head by accident by her son wielding a baseball bat, this appears to be the catalyst that propels her into a new life of sensuous abandon.

The concussion itself may be the catalyst but the real reason why Abby seeks to make changes in her life is because of the lack of passion in her relationship with her wife, Kate, an attorney who no longer seems to be interested in sex.

Abby tries two separate forays with prostitutes—the first a disaster, as the woman makes her feel dirty when they have sex. The second is the opposite: Gretchen, a young, sexy woman who's putting herself through school by servicing clients. Abby meets the latter through Jake, a young contractor who she's conscripted to work on her new avocation—renovating fixer-uppers in Manhattan for profit. Things go so well with Gretchen that Abby decides to turn tricks herself for $800 a pop, with the help of Jake, who finds various clients for her.

It does take a while before we break into Act Two when Abby sets off on her own, and often it's difficult to figure out who's who and what the characters are saying. This may due in part to director Stacie Passon's cinema verité style.

Once the protagonist begins meeting the clients, I would say what happens is mildly interesting. Abby has three main clients: an obese student who's never had sex before; a well-off middle-aged woman who at first leaves without engaging and a third woman, Sam (Maggie Siff),a bisexual woman who lives in Abby's neighborhood. The sex scenes are chaste in comparison to other 'art' films such as 'Blue is the Warmest Color' and here and there, Ms. Passon does a decent enough job of fleshing most of the characters out.

The scenes involving the couples' children were obviously inserted to show that Abby's forays into self-gratification were not her sole preoccupation. In fact, she comes across as an involved Mom, along with her significant other, despite their inescapable estrangement.

Passon's strategy perhaps is to illustrate her own fantasy life which is comprised of an active sex drive as well as a need to play therapist (Abby never sends away the inexperienced women who are in need of comforting).

Some may be put off by Abby's detachment but personally that didn't bother me at all. Overall, this is a professional made film with actors that deliver an air of assured verisimilitude. The slow pacing may be off-putting and the denouement is indecisive, but for those with the taste for it, you should find the film engaging. 'Concussion' indeed is a bit off-beat, but registers well in the pantheon of current art house indies.