Fuad Ramses and his family have moved from the United States to France, where they run a American diner. Since business is not going too well, Fuad also works night shifts in a museum of Egyptian culture. During these long lonely nights he is repeatedly drawn to a statue representing the seductive ancient goddess ISHTAR. He becomes more and more allured by the goddess as she speaks to him in visions. Eventually he succumbs to her deadly charms.

Ben, a struggling filmmaker, lives in Berkeley, California, with his girlfriend, Miko, who works for a local Asian American film festival. When he’s not managing an arthouse movie theater as his day job, Ben spends his time obsessing over unavailable blonde women, watching Criterion Collection DVDs, and eating in diners with his best friend Alice, a queer grad student with a serial dating habit. When Miko moves to New York for an internship, Ben is left to his own devices, and begins to explore what he thinks he might want.

During the economic reform period of the 80’s, three undergraduates bind together by a common ambition – to live the American dream. They are Cheng Dongqing, a hillbilly who refuses to accept his destiny of being a farmer; Meng Xiaojun, a self-confident, cynical intellectual; and Wang Yang, an idealistic romantic poet. Xiaojun is the first to obtain an US Visa for studying abroad. Yang follows but decides to remain in China for his beloved. Poor Dongqing is rejected by the US Embassy repeatedly. Baffled, he reluctantly accepts the job as an English instructor in the university but eventually gets fired for teaching tutorial classes in private. Across the Pacific, Xiaojun fails to find a decent job and is driven to work as a busboy in a diner.

Avalon is the third in Levinson’s semi-autobiographical series of four “Baltimore Films”: Diner (1982), Tin Men (1987), Avalon (1990), and Liberty Heights (1999). The film is set in Baltimore in the early 1950s and explores the themes of Jewish assimilation into American life.