WINDOW SHOPPING In Disguise

y therapist recently described a certain sect of my family as stuck in an inner drama of excess and deprivation, ricocheting between poles of queasy abundance and harrowing lack. I would describe my family life more as a comedy, but I wrote it down in my notebook anyway. Then, a few days later, I saw Amalia Ulman’s debut film, , a self-described “dark comedy about eviction” and, again, I found myself writing down: It is a film about a mother and daughter, Maria and Leonor, brilliantly played by Ulman’s mother, Ale Ulman, and Ulman herself, as they navigate unexpected poverty after the death