, respectively), the women at the story's center, whose lives revolve around keeping their husbands' stomachs full and their ambitions afloat. The initially halting, increasingly urgent intimacy that grows between them comes as a relief, but also a frustration — an agonizing taste of what life could be like if they weren't locked into roles dictated by their time, place and culture.
Early scenes pull us into the daily grind of Abigail and her taciturn husband Dyer as they struggle to keep their farm functioning while mourning the loss of their young daughter. There is distance between them — which Dyer openly deplores — though remnants of tenderness, too. Mostly, for Abigail, there is a numbing sameness to the days that pass.
The omnipresence of Abigail's narration during the movie's middle stretch may call to mind the recent work of Terrence Malick, a great filmmaker whose use and abuse of voiceover has become a devastating weakness. The heroine's musings here may be less drifty and dreamily existential than their Malickian counterparts, but there are eye-rollers of various types — from flowery ; to obvious ; to TMI .
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