Read the following passage and questions, then choose the right answer from options, the answer should be one of A, B, C, D.

<passage>:
Unmade Beds , Nicholas Barker's " 'real life' feature film," has proudly worn its mongrel status as a "directed" documentary of single life in the big city, employing, in the face of criticism, what amounts to a cackling-punk defiance. The movie tracks four aging New Yorkers--two men, two women--through their lonely dating rituals, in the process depicting a universe of lusty, coupled-up haves and downcast, excluded have-nots, all viewed Rear Window -style through rectangular openings in the massive apartment houses in which they reside. Those truths are large, all right. Take Michael, the 40-year-old, 5 foot 4 inch lonely guy who has been looking for a wife for almost two decades. If you were to walk past him on the street, you might think that a man of his small stature might have some trouble getting dates and be rather bitter about it. The larger dramatic truth is that Michael has lots of trouble getting dates and is very bitter about it. Just in case you feel too sorry for him, however, Barker is careful to include a homophobic monologue in which Michael complains about young women who waste their lives hanging out with effeminate males. Michael turns out to be the film's most sympathetic subject--by a wide margin. At least he's not Mikey, a paunchy 54-year-old who writes but can't sell screenplays and who always flees blind dates, because the women he gets fixed up with are "mutts." Sounding like one of the low-level gangsters who posture like kingpins in Donnie Brasco , Mikey talks a lot about mutts. He also reminisces about that 24 hour period in the '70s when he managed to sleep with three different beautiful women, whose pictures he shows off. These days, all he meets are mutts. He comes off as a pathetic little loser--a mutt. Barker might have crafted his subjects' monologues from their own words, but he has robbed them of their spontaneity--and, thus, of their essence. They aren't thinking or trying to come to grips with their situations in front of your eyes, because they already know what they're going to say: They've been fixed like butterflies on the ends of pins and held up for voyeuristic inspection. The scenes with friends and confidantes have a crude, programmatic purpose. You can imagine the director composing a shot (the shots are tightly composed and elaborately lighted) and reminding them, "In this scene she points out that you should lose weight and you get shocked and defensive. Ready ... Action." So what are Barker's "larger dramatic truths"? Single people in big cities can be desperate. Single people fear they're going to die alone--unloved and unloving. People are judged and, in turn, judge others by how they look. Big news. One could argue, charitably, that the movie is meant to be prescriptive, that Barker intends for us to regard the ways in which his subjects delude themselves and thereby learn to see through our own self-delusions. But Barker hasn't concocted a larger dramatic structure that would hold those larger dramatic truths together and help us comprehend where these people went wrong. He dramatizes right up to the point where a dramatist would be expected to provide some insight--and then, hey, he's a documentarian. The Slums of Beverly Hills also walks a line between two genres, in this case coming-of-age sex comedy and autobiographical monologue. Tamara Jenkins, the writer and first-time director, has an eye for absurd juxtapositions that was obviously sharpened by the pain of her nomadic upbringing. Her protagonist (Natasha Lyonne) spends her teen-age years being shuttled with her two brothers from one cheap dive to another in the 90210 ZIP code, all because her egregiously unsuccessful father (Alan Arkin) wants them to be educated in the best schools. ("Furniture's temporary education is permanent.") It's a major omission, then, that we never see those schools or the kids' interaction with their stable, well-to-do Beverly Hills counterparts. We can't tell if the father is, on some weird level, justified in his fervor, or whether he's screwing up his children--subjecting them to humiliation and robbing them of a sense of permanence--for no reason. Jenkins hasn't quite figured out how to shape her narrative, which is full of episodes that are there because they actually happened but that don't have a payoff. I almost wish she'd included more voice-over narration, more commentary on the things that, as a filmmaker, she hasn't learned to bring out. The Slums of Beverly Hills never gels, but it has a likable spirit, and it's exceedingly easy on the eye, with lots of pretty girls and wry evocations of '70s fashions and decor. The father, to obtain financial support from his wealthy brother (Carl Reiner), volunteers to take in his vaguely schizzy, dipsomaniacal niece (Marisa Tomei). She and her cousin compare breasts, play with vibrators, and talk in pig Latinish gibberish, but Jenkins never lets the proceedings get too sentimental: The whimsy is always cut with an acidic awareness of the family's desperation. "Are we middle-class now?" ask the children, hopefully, before another crisis sends them back into their van, cruising past the movie stars' mansions, in the mean streets of Beverly Hills. Grading on the steep curve established by summer blockbuster seasons past, these have turned out to be a pretty good few months at the movies. Even the commercial swill ( Deep Impact , Armageddon , The Mask of Zorro , Small Soldiers , Snake Eyes , Halloween: H20 ) has been of a high grade, and Saving Private Ryan and Return to Paradise were Vitalis slaps in the kisser for people woozy from all the warm weather escapism. Out of Sight was tender and charming, as was, in its gross-out way, There's Something About Mary . And, on the indie front, The Opposite of Sex , Buffalo 66 , and Pi have proved that there's still commercial life after Sundance. Sure, we had stinkers, but even Godzilla was fun to jeer at. And there's something reassuring about the fact that The Avengers is so rotten: proof yet again that people with piles of money can hire wizard production designers but can't fake class.

<question>:
What, according to the author, is the main flaw of The Slums of Beverly Hills?

<options>:
A The female characters are reduced to naive, sex-obsessed girls, when they are much more complex in reality
B The director too obviously uses the film as an outlet for resolving her own childhood devastations
C It is difficult for the audience to make sense of the director's absurd juxtapositions
D The audience never gets to see the children interact within the context that motivates their father to uproot their lives

<answer>:

D