Hogg’s debut feature is an enriching experience, almost Rohmer-esque in its focus on the bourgeois and their conversations as a middle-aged British woman in an unhappy marriage joins a friend’s family for a vacation in Tuscany. 

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Architecture meets cinema in this minimalist if keenly observed, hauntological tale of two intimacy-starved artists living in a glass house in London as they prepare for its sale.

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Hogg’s annoyingly pretentious film is a slog to get through, so it’s bewildering to see nearly every critic thinking it is a godsend. 

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