On the night of a party at their house, Eve finds her father in an amorous encounter with another woman. Eve then begins to question why her doctor father is always summoned for house calls to female patients at all times of the day and night. Eve’s subtle innuendoes about her father’s extramarital affairs cause a rift between Eve, her sister, her mother, and her aunt. All the women know what is happening, however, each has their own way of dealing with reality.

Eve decides that she has to stop her father’s philandering so she enlists the help of a local fortune teller to use voodoo on him. Eve’s aunt is also a fortune teller, but wants no part of her plan. Eventually, Eve realizes that she still loves her father and attempts to stop the so-called spell before it works.

Eve’s Bayou is the first feature film for writer-director Lemmons, previously best known for her acting work as Jodie Foster’s best friend in The Silence of the Lambs. In one of the most impressive debuts in recent years, Lemmons' work is very comparable with John Sayles, the best independent filmmaker working today. Lemmons’ writing is extremely novelistic with attention to rich characterizations and dense storylines. Like Sayles, she also has a soft fluid touch as a director.

After winning a slew of Academy Awards for his Godfather films, Coppola had about as much clout as anyone in Hollywood. He decided he wanted to make a film about Vietnam. At that point the war was still a very prickly subject, but Coppola was able to secure financing. He adapted Joseph Conrad’s novel Heart of Darkness into a film about a captain in the U.S. army (Martin Sheen) who is commissioned to take a small boat of G.I.s up the river and into the jungle to find a colonel who has gone mad, played by Marlon Brando. As Sheen journeys up the river, he has various experiences that illustrate both the absurdity and insanity of war. He encounters a platoon led by Robert Duvall whose passion for surf boarding is only exceeded by their love of wiping out the enemy with napalm. Sheen also sees G.I.s at a base almost riot over a couple of playmates flown in to entertain the troops and watches his men mow down a small Vietnamese boat with machine guns because of a kitten.

As he finally reaches his destination, Sheen meets with the ubiquitous colonel. Brando has made himself the enlightened-despot of a small jungle community of natives. He is obviously working on a different philosophical plateau; however, amongst all the madness perhaps he is the sane one. At this point Sheen has come too far to turn back and seen too much to go on. He then has to decide whether or not to complete his mission to assassinate Brando.

Shot on location in the Philippines, the production had major problems from beginning to end including Martin Sheen having a serious heart attack, the film going so over budget that Coppola had to put up his own money, Brando always wanting to change his character, and Dennis Hopper being so high that he improvised all of his lines. Despite Coppola himself not knowing what film he made, Apocalypse Now stands as the final masterpiece of the golden age of American film, the 1970s. As Coppola says in the documentary Hearts of Darkness “this film is not about Vietnam. This film is Vietnam.”