Noor Haddad
I moved to Los Angeles for a job I have since left. I watch most things after midnight, usually on the couch, usually alone. I keep a notebook of last lines. I am not a critic. I just want to be somewhere when a film lands.
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I moved to Los Angeles for a job I have since left. I watch most things after midnight, usually on the couch, usually alone. I keep a notebook of last lines. I am not a critic. I just want to be somewhere when a film lands.
Watched it the night it went up, which I never do, because the trailer had a shot of a woman eating standing up at a kitchen counter and I wanted to know why that wrecked me. It is a film about a season ending and nobody admitting it. The daughter says almost nothing for forty minutes and then says one thing. I put my phone in another room for the second half.
Twelve minutes about a woman signing a lease she cannot afford and the broker who knows she cannot afford it. It is funny for nine minutes and then it is not, and the turn happens on a single look while she is holding a pen. I have signed that lease. I have made that face.
I called my dad after this, which I want on the record as the highest thing I can say about a film. The snow is not pretty in it. It is a job. Somebody has to move it. The scene where the son shovels the neighbour's driveway without being asked and the neighbour never comes out is the whole relationship in ninety seconds.
