As Denis Lenoir's camera recedes into a carefully bisected domestic composition, the boundaries between the past, the present, and the future shimmer and blur together in a way that suggests that nothing ever really slows down.

During the course of the film, Nathalie undergoes a series of crises and finds herself increasingly alone and alienated. Yet Hansen-Young, who is very good at this sort of thing, is no pessimist, and she concludes her film on a nod to "l'avenir."

It sounds like slight stuff but Hansen-Love is an expert in the observational -- the habits and customs that make up a life and the sense of dislocation that results when they're no longer possible.

This is a movie about our surprising ability to deal with disaster — the instincts that emerge when we least expect them to [...] Hansen-Løve’s gentle, intelligent filmmaking puts people at its center as it explores human resilience.