An undeniably bourgeois but sensitive drama about the dull yet emotionally fraught admin and logistics of the end of a life. Assayas portrays the deep melancholy of dividing up the residue left in the shape of a person after they’re gone and the sadness of seeing an object that has been used, cherished, and loved being turned into a museum piece for people to walk past. It’s a generous, wistful film with just enough of a hint of sharp social criticism underneath: both of the mercenary way the house’s objects are seized upon and the implied incestuous proclivities of the bourgeois artistic set.