As indicated above, the vast majority of this film was excellent. Well and interestingly rounded characters were very effectively developed throughout the film, being established with some depth and the hidden aspects of their characters being cleverly unfolded as the film progressed so that we felt we were seeing a gradual revelation of character rather than a series of plot devoices masquerading as character development or as devices to make us jump. The cracks in the husband’s façade were smartly and gradually revealed with this being one of the best aspects of the film’s writing while the wife’s eating issues were clearly a part of the whole picture but neatly incorporated into the main plot thrust and did not seem to be there merely as flat plot devices to gain sympathy. Real lives were well established which meant that when the mystery became apparent, we were fully involved with these characters -and indeed the smaller ones all of whom played an important part in the story, with their characters also being well written and convincing - again, real people in a real story and not mere cardboard thriller cutouts.
The setting (gorgeous Upper State New York) also played a significant dramatic role as the works of two of the Hudson River school were significant (George Inness and Thomas Cole) in the plot, one providing a visual foreshadowing of the conclusion and with connection with Swedenborg and his spiritual beliefs which are a significant element in the location and plot. It was the use of these supernatural elements, particularly at the very end of the film, that I found less convincing as I felt that it was using a device that was not really needed, certainly not to permit resolution. The characters and their relationships and beliefs were all strong enough to have allowed the film to remain anchored in the real world without the spiritual/supernatural element.
But nevertheless, it was a pretty gripping and enjoyable film.