Susan Edwards

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I think the reviewers get it wrong. This was a great film. The lighting is the main character. So dark except for a few bits of light. The young Peter is just as quietly frightened as the older version. They match perfectly. This may not be Pete Dexter's plot but the riff on it is angular and muffled. It is chiaroscuro to the hilt. I loved Matthias Schoenaerts and all the others. I loved the moment when his hand touched the only female character's hand on the bar as she is giving him a drink. And the light coming in the window as they awkwardly embrace. And the moment when she invited him to visit her in Florida. After it is over and you haven't understood a thing, it stays with you, all that darkness and the fragile Leonard Cohen flaws and cracks where the light gets in. For me it was a combo of the Welsh series Hinterland and the movie Moonstruck, It was just like the last year of lockdown where everything is as slow as Tarkovsky, and as dark as long solitary nights. This movie was so watchable because it was dark and contained and steady, such a contrast to the strobe lights of the regular day to day glitz of news and entertainment.⚡️⚡️⚡️⚡️⚡️