A considered depiction of a home that has become a prison—with many other prisons inside it. Nested like Russian dolls inside the prison of the couple’s modernist James Melvin house are the prison of their marriage, the prison of the family they never had, the prison of their artistic careers, and, most significantly, the prison they’ve built between them of how they interact with one another, as if their marriage were an artistic project rather than an emotional engagement. Not as devastating as Joanna Hogg’s other films and altogether quieter but an interesting chapter in her ongoing cinematic dissection of the English middle class.