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She — and Esteban — ultimately fails to engage us as a person we can identify with: she doesn’t even come across as *unappealing.* She simply never sparks to life at all, perhaps because she has almost nothing lively to react against.
Her sister, Annie does not want to attend, reminding Nicole of the way their mother used to treat them.
Nicole tries to contact her cousin, Liz and her daughter Eva via video call.
After losing the connection, Nicole sees an open door, leading into a dark room and walks inside.
Annie arrives, having been informed that Nicole is missing, and finds Nicole’s phone along with a photo.
We never know why Sylvia felt compelled to run away from her friend’s wedding (and she suffers almost no consequences for treating her friends so badly).
When Annie awakens and sees a figure in the hall, she enters Liz’s room and finds her bed empty.
The wisely observant script — by Du Vall, who also makes her debut as director — is all about that push-and-pull desire to help our friends while also trying to avoid hurting them in the process, about walking that fine line between wanting to run away from deep, painful reality and wanting to confront it and get it over with.Or does writer-director Li Lu — an installation and music-video artist making her feature debut — simply not realize how little sense any of that makes?It should at least ring false to Sylvia, but she barely seems to react to anything. Women who feel their worlds falling apart and don’t know what to do about it. So I was delighted to discover two films that fall into the sparsely populated subgenre of Women Who Go in Search of a Kick in the Butt (Though They Might Not Realize That’s What They’re Doing). These are not the sorts of personal crises that we typically see women experiencing onscreen (though men have countless cinematic examples to follow when they find themselves in a rut).She — like the movie itself — is way too mellow for the confusion and unsettled emotion she is supposed to be experiencing.