is centrally concerned with liminality—those spaces that oscillate between familiar and surreal, enduring in transitional stasis. The dimensions of transition can be temporal, as in sun-bleached plastic jungle gyms that evoke the passage from childhood, or spatial, as in secluded motels in the middle of road trip destinations. In Denis Côté’s 16th film, however, the liminal spaces are collapsed under one roof by way of creative geography, comprising steady shots revealing walls, hallways, and entrances from various angles. The rooms are mostly vacant, with the occasional chair or trailing sheet of paper that threatens to betray their anonymity. Some more industrial settings are characterized by high ceilings and exposed pipes, while others are more ambiguous as to
