In the prologue, a girl sees something in the woods. When she grows up, the mystery goes on. This was fundamentally flawed obvious absurdity. There was a fish and so much staring and mumbling. The girl now a woman faces the consequnces of her inaction and lies. There is no threat or danger or meance.
The woman inherits the family business: a rundown motel. This does not induce fear. The woman and her sister feud. The woman is a loser and she faces an unenviable future. There is a sense of inevitability. The woman has convinced herself of her own version of the truth but the ending changes everything. There is no simple dread, the loser sister is hated and excluded. She causes nothing but trouble. People are angry and resentful.
She keeps insisting she saw a kidnapping in 1994. The police ignore her. She continues her lies and troublemaking. There is appalling behaviour and she is trapped in a pattern of behaviour that leads to unhappiness. People are angry and resentful. There are deceits. The woman is convinced she contributed to a child's demise. There is no quiet or distance. People are devious. There are ramifications of long ago events. The woman is forcefully awful. One struggles to hold on to one's patience watching this. The woman (Tuppence Middleton) is a liar. David Cronenberg makes an appearance.
“Love you, despite everything.”
“Hookers wouldn't even use it!”
“Feet pointed toward an exit.”
“Real cost on your mom.”
“Who could have fathomed such a fate?”
“Masterpiece of degenercy.”