Shults leaps around visually, from the nephews wrestling in the yard, to Krisha tearing the kitchen apart looking for the oven-timer, the camera whirling around her in dizzying 360-degree turns, to Robyn and her husband having whispered worried pow-wows in the corner, as Krisha peeks at them anxiously.
Fear.

"Krisha" is both realistic and deeply surreal.

Robyn refuses to allow her to join the table and takes her out of the room. The story behind shooting "Krisha" is almost as extraordinary as the film itself.

Watching "Krisha" is a revelation: there are expected "rules" for such material (a former addict returns home for a holiday), but then director/writer Sheila O'Malley received a BFA in Theatre from the University of Rhode Island and a Master's in Acting from the Actors Studio MFA Program. "Krisha" is not just about its main character but about the effect her alcoholism has had on the family. Most of the family is horrified and tries to help Krisha up from the floor and salvage the meal.

He is cold and defensive, refusing even to look at her; as she attempts to coax a reaction out of him, he resists and leaves. Krisha is deeply indebted to Cassavetes, who shared Shults’ interest in pressure-cooker family dynamics and women on the verge of self-destruction.

Later, after looking through Trey's room and finding a bottle of vodka, a distraught and increasingly unhinged Krisha interrupts dinner once again, demanding that Trey tell her he loves her. As the day progresses and she sees her son's closeness to her sister's family, Krisha starts to secretly return to her bathroom to abuse alcohol, prescription drugs, and illegal drugs in an attempt to cope. It seemed so important that the turkey come out well. She doesn't look like a Hollywood actress playing at being an addict. Krisha sobers up, watching home videos Robyn has of Trey as a child.

The frantic score would be appropriate for a horror film, and in a lot of ways "Krisha" is a horror film (the first moment evokes pure psychological terror). When it is time to remove the roasted turkey from the oven, she is drunk and out-of-control. The film ends with an abrupt shot of Krisha looking into the camera, trying and failing to hold back tears. But … Although she is forgetful, she remembers each of the family members by name; upon being greeted by Krisha, however, she becomes confused and seems unable to remember her clearly. "You are heartbreak incarnate," declares her caustic brother-in-law. The disaster movie "2012" is about the near-total destruction of planet Earth in accordance with predictions made by Ancient Mayans, thousands of years ago.While most of the movie is centered around spectacular explosions and impressive special effects, "2012" also communicates messages and symbolism about the elite's plans for a New World and the coming of the Age of Aquarius. Shot over nine days in the Texas home of Shults' parents, the cast is made up of members of Shults' family (most of them are not actors).

We all know how addiction narratives usually play out (at least in the movies). The movie is all about her face. She really is "heartbreak incarnate."

The tension, at times, was unbearable. The film feels like a blazing catharsis for all involved. She's a tough-looking broad with a big belly laugh, but her hopes are hanging by a thread. The addict shows up, there are tense scenes, shouting matches, maybe a relapse, but in the end, there is hope after all. She then goes downstairs to find the rest of the family enjoying a toned-down version of Thanksgiving dinner without her. It Comes at Night, director Trey Edward Shults's follow-up to his anxiety-inducing masterpiece Krisha, … Shults' mother (a therapist in real life) has a scene with Krisha in an upstairs bathroom that is so pained, so raw, that it puts other confrontation scenes in other films to shame. She looks like the real thing.

Robyn laments the fact that Krisha lied about her sobriety, telling Krisha that she defended her when other members of the family didn't want to invite her at all. "Krisha" is both realistic and deeply surreal. Bloodlust. I wanted her to go check on it. Shults’ camera, guided by his regular cinematographer Drew Daniels, glides through the life of a handsome, happy, successful Florida teen named Tyler (Kelvin Harrison Jr.). How many chances are you supposed to give someone before you back off in self-protection?

Cooking that turkey is a cliffhanger in and of itself.

She's buoyant and fragile, self-pitying, clueless. There is Krisha's sister Robyn (Over the course of the next couple of hours, Krisha prepares the turkey, (at one point the bandage on her finger—a finger missing its tip from some unexplained catastrophe—disappears inside the bird), sneaking out to smoke butts on the patio, or retreating to the bathroom upstairs to stare at herself in the mirror, trying to calm down. Her mere presence calls into question the industry's casting choices: who else might be out there not getting work because of their body or their age?

The noise is deafening inside the house, but the sound drops out when Krisha is alone. Krisha is visibly upset by this. As the day progresses, it becomes clear that the family has clashing opinions of Krisha.
Hopelessness. When Robyn asks her to leave and Trey disowns her, the argument escalates and becomes violent, with Krisha breaking silverware and attacking Robyn as she is removed from the house. Krisha has recently told her relatives that she is now reformed and sober, and that she wants to visit on Krisha attempts to reconcile with Trey, expressing a desire to be part of his life again.


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