The film opens at a moment of extremely high tension, introducing us to the broken arguments of Jess and Jacob. Every scene presents a new argument, a new conflict, always defined by Jess’ quieter approach, while Jacob’s aggressive proclamation alternates between accusatory yelling and pleas to help him.
There is a sense of rawness that the film endeavors to invoke, alongside a twisted equation in a household where the portrayal of chores like cooking is always marked by Jess, while Jacob remains either indifferent to the practical tasks at hand, or adds to them by angrily hurling objects around. Overlooking a slight roughness of narratorial progression, there is something to be said about the notable camerawork which weaves together the thoughtful visuals to portray this sense of oppressive overwhelm.
In this realm, which is defined by an absolute breakdown of communication and stunted adulthood, when things truly come to a head, whose fault is it really? The film’s title gets echoed at the climax when a horrific development positions itself in this household of frequent, heated exchanges.
Read LessThere is a sense of rawness that the film endeavors to invoke, alongside a twisted equation in a household where the portrayal of chores like cooking is always marked by Jess, while Jacob remains either indifferent to the practical tasks at hand, or adds to them by angrily hurling objects around. Overlooking a slight roughness of narratorial progression, there is something to be said about the notable camerawork which weaves together the thoughtful visuals to portray this sense of oppressive overwhelm.
In this realm, which is defined by an absolute breakdown of communication and stunted adulthood, when things truly come to a head, whose fault is it really? The film’s title gets echoed at the climax when a horrific development positions itself in this household of frequent, heated exchanges.
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