第一次看这片子是在深夜，开头那股阴郁的调子没吓退我，反而让我一口气看完了。最戳人的是葛瑞丝·格洛威克的表演，那种歇斯底里后的疲惫感太真实了，不需要大起大落就能让你感到窒息。整个故事没有惊天动地的冲突，全靠邻里间那种烟火气十足的日常堆叠，看得人特别有代入感。它没什么爆点，就是让人在黑暗里静下来，对着自己成长过程中那些没说出口的遗憾发会儿呆。老钟表的滴答声像心跳一样急促，你能感觉到他们心里那种“想守护点东西却被生活冲刷”的疼。祖母那一代人的压抑和隐忍，全藏在这些不起眼的老物件里。

Facing a long winter of lockdown and combating a bad case of writer’s block, filmmaker Eric agrees to get a dog with his girlfriend Allie. A modern couple – vegan, ethical, millennial, neurotic – much research and negotiation leads to the arrival of Milly, a rescue from the Dominican Republic. This sets off a riotous chain of new challenges on how to best deal with this addition to the household. As Eric contends with a sinister dog-training programme, his introspection spills out onto his film work, with poor Allie and Milly taken along for the ride. The couple each pursue their own deepheld individual questions surrounding trust, purpose and roots, while wrestling with the idea of what it means to be a modern family. Milly, in the meantime, has a lot on her paws with these two!
　　Part rom-com, part rescue-dog story, part autofiction, part self-indictment, part family scrapbook, this debut feature was made with remarkable economy and displays a disquieting amount of (often hilarious) emotional authenticity. Filmmaker Ben Petrie and creative collaborator Grace Glowicki play the young couple and in doing so, capture nothing less than what it means to be human.