he freight train barrelling along a moonlit overpass shows no signs of stopping, as Colton (Marcel T. Jiménez) cries out to Kyle (Jackson Sluiter), the latter just out of earshot and tramping along the tracks ahead. We’re left with only a protracted noise: the clang and whoosh of bogies hitting rails, without a single yelp or thud to confirm our fear that Kyle—a kind-eyed River Phoenix manqué who picks flowers for cat burials and skateboards down craggy terrain in a leisurely frame of mind—has been killed; our only sign is the reflection of a crescent moon wobbles in the water after the accident, as if the sky is twisting in acknowledgement of unfolds as a double-barrelled character study driven by a misplaced notebook, which conjoins the grieving Colton and the antsy, unpopular Whitney (Hayley Ness), a teenage girl who has disappeared. The film takes place in present-day Alberta, where Foy, a Calgary native, deftly peels apart memory and mourning to create a tactile and hauntological two-parter.
