Wednesday, March 25, 2026

Comic to Film: Man-Thing

 

Welcome back for another edition of Comic to Film! We are taking a look at the cast of the last Marvel Universe entry of Season 35 - Man-Thing, from director Jordan Peele (Nope, Bright Neon Lights) and writers Jimmy Ellis (Rubicon Lies, Convalescence) and Mark Newton (Gears of War 2, Ghost Rider: Damnation).









Now Showing: Man-Thing

 
Man-Thing
Genre: Horror/Supernatural/Superhero
Director: Jordan Peele
Writers: Jimmy Ellis & Mark Newton
Based on Marvel Comics characters
Cast: Allison Williams, Max Minghella, Lil Rel Howery, Jasmin Savoy Brown, Daryl McCormack, Nick Kroll, Don Omar, Miguel Gomez

Plot: A storm rages over the Everglades as Dr. Ted Sallis (Max Minghella) works in a top secret facility run by Advanced Idea Mechanics (AIM). He hunches over his workstation, tubes of bio-engineered fluids lined up beside stacks of handwritten notes. He pores over the vaccine compound he is working on. His notes are precise. Screens show virus cultures, accelerated decay patterns, DNA sequencing. His project - a synthetic immuno-serum - targets mutating viral strains by grafting defense mechanisms directly into cell structure. Adaptable immunity, designed to thrive even under heat, radiation, and toxic conditions. In theory, it could save millions. In practice, it’s too unstable. Ted knows this. He’s trying to fix it before someone forces him to deploy it. The door opens. Paul Allen (Casting Ideas: Mark Proksch, Nick Kroll, Haley Joel Osment, David Cross), AIM's smug lab director, enters like he owns the place even though he's no scientist - he’s the man who approves the budgets, handles the reporting, and gets impatient when deadlines aren’t met. He pesters Ted, asking how much longer the project is going to take. ed says the compound’s still reactive under field conditions - it needs more time. Allen shrugs, obviously not caring about the science. He tells Ted to skip to the finish line as the company wants deliverables, not excuses. He informs Ted that if he can't deliver the results, they'll find someone else who can. Allen then leaves the lab, leaving his phone behind. Curious, Ted accesses a secure file on the phone which suggests that the serum Ted has been tasked with developing isn't actually meant to prevent outbreaks - it's a bioweapon platform and the company has global buyers lined up.

Ted moves quickly, wiping his research files from the servers, smashing vials of the formula until there is just one last sample left - the cleanest, the only one that might actually help someone. He injects it into his arm to keep it from AIM. Ted then leaves the lab and heads out into the storm to his car. He is jumped by two men - Delgado (Don Omar) and Raul (Miguel Gomez) - who knock him to the ground and drag him off to a small metal boat in the swamps. Delgado pilots the boat as Raul opens a steel drum sitting at the stern. It’s half full of chemical runoff, tar-black and steaming. Once the boat stops at a remote stretch of swamp, Ted begins to fight back against his captors. Raul and Delgado overpower him and shove him into the drum, sealing the lid. Ted's screams are muffled by the steel as they shove it over the edge of the boat and into the dark waters of the swamp. The drum slowly vanishes into the water.

Six weeks later...
A floatplane skims to a stop at the edge of the swamps of the Everglades. Ellen Brandt (Allison Williams) steps out. George Tarleton (Lil Rel Howery) is waiting at the end of the dock. He smiles and tells her she finally gets to see the real Florida. Ellen doesn't return the smile. He hands her a folder as they walk, explaining the assignment: Ted Sallis went missing weeks ago with his research incomplete. her job is to retrieve any intellectual property from his research and lab that might still be viable. They get into an idling SUV waiting that takes her to Ted's old lab. The place is still a mess, but the only thing she finds suspicious is a broken syringe on the floor. Ellen asks for someone to take her out into the swamps around the lab.

Flashback: Ted leans over a shared console as Ellen watches. Ted, animated, describes the protein chain forming on the screen in front of them. Ellen makes a joke about Ted's excessive caffeine intake and corrects his math on a sticky note and slaps it on the screen. 

On a narrow boat, Ellen is guided by Joseph Timms (Daryl McCormack). Ellen checks the coordinates on a tablet, confirming that they have reached the area that Ted's smart watch last pinged. She comments that she bets the folks only looked for his phone - not his watch. Timms finally talks, claiming to know these swamps better than anyone AIM has on payroll. When Ellen doesn't respond, he quickly changes the subject, mentioning that the animals around the swamps have been quieter than usual lately - no birds chirping, no frogs croaking, he hasn't even seen gators out and about. They spot something tangled in vines ahead - an small boat. Ellen steps onto it, slipping slightly. She immediately notices blood smears on the seats. Timms suggests they head back - no sign of Dr. Sallis. Ellen insists they continue deeper into the swamp. They soon reach a clearing where cypress trees rise about of the almost black water. They look up see Delgado's body - or what's left of it - dangles ten feet up, hanging from vines wrapped around his limbs. The torso is torn open, spine visible. Timms curses under his breath. Ellen takes the pistol from Timms' belt and raises it, stepping off the boat onto a patch of earth to take water and soil samples. The vines tighten. Something massive shifts in the tree line up ahead. A silhouette - broad, tall, camouflaged by muck and moss. Two red eyes gleam from beneath the vines. The creature doesn't rush - it simply watches as if it recognizes her. Ellen doesn't fire the pistol. Timms yells, grabs her arm and drags her back to the boat. Timms pilots the boat at full-speed, tearing through the swamp back towards AIM territory.

Back at the dock, Ellen and Timms haul themselves out, still shaken. Miriam Travis meets them, barefoot, holding a clipboard. She sees their condition and starts asking questions. Ellen says that something is out in the swamp - and she thinks that maybe it killed Ted. Inside they spread out maps of the area. Ellen marks the location where they found Delgado's body and where she saw the thing in the trees. Miriam asks if they're sure it wasn't just an animal of some sort. Timms cuts her off - pointing out that gators don't stand upright or having glowing red eyes. Miriam takes one of the samples Ellen collected - the swamp water near where Ellen had seen the creature - to her microscope station. The sample is mutating rapidly with bizarre growth patterns that shouldn't be possible. Ellen looks over her shoulder at the monitor in disbelief.

That night, Timms sits alone on the dock, smoking. He mutters to himself about the silence, uneasy. Something splashes in the reeds. He shines his flashlight, sees nothing. Ellen is poring over old research recovered from one of Ted's hard drives. She is interrupted by the arrival of Paul Allen and George Tarleton who ask if she's found any of Ted's missing research yet or have any clue how to best continue his work - in his honor of course. Ellen says that she needs more time and asks if they have anything else they haven't shown her yet - any other clues or research. Paul insists that Ted took or destroyed anything of importance. After Paul walks away, Tarleton jovially hints to keep anything she does find discreet. Timms watches Paul and Tarleton walk away and get into an SUV as he sips on a warm beer. 

Ellen looks at her watch and wonders where Timms is. She steps outside with a flashlight, finding his beer bottle on the ground, upright, half-full. No sign of Timms though. She calls his name into the trees - no response. She waves Miriam over. Together, they follow faint boot prints and a broken trail through the cattails. They reach a clearing by water's edge. There's blood on the grass. The water begins to bubble - slowly and quietly. Vines in the trees above begin to sway despite no wind. Then something moves in the shallows. A silhouette rises from the water. Mud and moss peel back as the form stands. Shoulders broad, limbs like massive roots, steam leaking from its chest. Two red eyes blink open, glowing faintly beneath the thick canopy of rotten foliage. The Man-Thing watches them. Ellen stands frozen, Miriam hides behind her. The swamp pulses around them. Man-Thing doesn't approach. Instead, a vine from the tree above lowers gently, brushing Ellen's wrist. Tarleton's voice calls out for Ellen and Miriam. Man-Thing disappears from sight into the swamp water.

As the sun rises, Miriam is back in the lab reviewing slide after slide. Ellen rifles through Ted’s old data logs again. She finds a private folder she hadn’t noticed before—encrypted and marked with only a single word: “ELLEN.” She hesitates. Then plugs in a passcode: her birthdate. It opens. The file opens on a stream of raw text—Ted’s personal notes. There’s no lab jargon here, just paranoia and heartbreak. He writes about Paul Allen’s interference. about AIM’s shifting interest in “field-deployable outcomes.” He writes that he has discovered that AIM never wanted to save anyone - they always meant to weaponize his work. In the final entry, Ted writes that he’s out of time. He doesn’t trust anyone. AIM will come for the serum, and if they find it, they’ll use it to burn cities. So I took it into myself, he writes. I made sure they can’t have it. If it works, it dies with me. Ellen closes the file slowly.

Flashback: Ted is mid-rant about synthesis protocols and threshold tolerances. Ellen is on her way out the door. She reminds him what day of the week it is. He apologizes for getting caught up in his work. 

Outside, Tarleton has found Raul's mutilated body, half-buried in the mud. His ribs are peeled open. Flies gather in clouds around it. He calls out for help. Tarleton acts like he has no clue who that man is. Paul is relieved that Raul's body has been found and that Timms may still be alive. Miriam vomits behind a tree as what's left of Raul's body is zipped into a body bag.

Ellen avoids the commotion and goes toward a secluded clearing near the water. Man-Thing once again emerges. This time he steps forward. He reaches out an arm toward her, gently. The creature groans something softly. She doesn't flinch. Suddenly gunfire rings out. Man-Thin recoils into the swamp. Ellen turns. Tarleton stands thirty feet back with a pistol raised, claiming he thought she was in danger. 

Back at the research station, Ellen confronts Tarleton about the lies. She tells him that she knows Ted injected himself with the compound. She knows AIM sent Delgado and Raul to eliminate him so they could use his research for whatever they wanted. Tarleton drops the friendly act. He tells her almost everything she just said is true. He tells her that AIM doesn't want "miracles" unless they are profitable. He adds the one part that isn't true is that they never knew Ted injected himself with the formula. Tarleton then cruelly thanks Ellen for the information. 

Ellen flees the lab, toward the swamp. When she reaches a secluded area, she opens Ted's final voice memo - recorded several weeks ago. Ted speaks of regrets - of how the serum might  be his only shot at doing good before AIM turns it into a weapon. He says goodbye to Ellen, assuming she's who AIM will call to figure out his research and that she'd be able to locate the hidden file. He tells her that he always loved her, even if he constantly let ego and work get in the way. Ellen, tears in her eyes, doesn't flinch when the trees part behind her. Man-Thing emerges, slow and solemn. Elle turns toward him. Her hand rises, brushing against the moss and muck covering his chest. His glowing red eyes fix on her. She whispers the name "Ted." Man-Thing lets out a soft groan of recognition as he lowers his head toward her. Behind them, Paul Allen stumbles into he clearing. He freezes at the sight of the creature. He raises his phone to take a picture. A boiling hiss sounds. Paul's eyes go wide, his skin erupts in blisters. He tries to scream. Steam rises off his bones as he collapses in a pile of scorched flesh. Ellen turns away from Paul's body. Tarleton watches from a safe distance through binoculars. He makes a call, telling them other line to send the package. The voice confirms. Tarleton smiles. He turns to Miriam and tells her to pack up any samples she wants to keep - because in an hour, none of this swamp will exist.

A distant rumble begins to echo through the trees - not thunder, but engines. Black AIM helicopters deploy strike teams in full HAZMAT armor, flamethrowers strapped to their backs. Man-Thing retreats into the swamp water. Miriam backs away from Tarleton. As the AIM strike force pushes into the wetlands, Ellen runs through a clearing, trying to find Man-Thing again before AIM does. She stumbles upon something in the brush - it's Timms, half-conscious. He mumbles about the vines pulling him under, but not killing, like the swamp itself spared him. Ellen helps him sit up. Back at the station, Miriam demands Tarleton to tell her what will happen if the fire he is starting spreads to nearby towns. Tarleton shrugs. She accuses him of murder. He corrects her, calling it containment, not murder. 

An AIM scout shouts out that he's found something moving through the smoke around the fires. The Man-Thing emerges, towering, his body covered in burns from proximity to the heat. One soldier fires a canister - it bounces off Man-Thing's shoulder. Another aims a flamethrower. Before the trigger clicks, Man-Thing lunges. The man ignites mid-scream, engulfed in fire from his own flamethrower. The rest scatter, but more units begin to flank the creature. Ellen and Timms reach a high ridge. From there, they can see the burning perimeter and the soldiers moving in. Ellen tells Timms to get back to the station and get Miriam out. Timms nods and starts moving through the brush. 

Ellen stumbles through the smoke-filled swamp, coughing, eyes stinging. The AIM strike team's fires are spreading too fast, consuming the edges of the wetlands. Suddenly, from the haze, Man-Thing emerges. They are entirely surrounded by the fire now. From he distance, another AIM team readies incendiary charges. Tarleton makes it clear: he doesn't want the creature preserved - they can study his corpse. Man-Thing turns to Ellen before stepping toward the burning wall of trees and vines. He raises both arms. The swamp seems to answer. Roots churn beneath the ground. From the murk below, vines, reeds, and waterlogged branches rise up, forming a tunnel of tangled biomass that shields Ellen. Man-Thing’s body is engulfed in green, dragging water with it. The plant matter pulls her underground — not into mud, but a submerged cavern — like the true heart of the swamp.

Meanwhile, Timms returns to the station and finds Miriam in standoff with Tarleton. Miriam is threatening to expose AIM, but Tarleton smugly tells her that she has no platform - not to mention the numerous non-disclosure agreements she signed upon her employment. Timms warns Miriam that the fire is almost at the station. Timms and Miriam flee. Tarleton calmly calls for one of the AIM helicopters to pick him up. Once in the helicopter, he announces that they'll have a team comb through the swamp once the flames die down.

In the root-cave deep beneath the swamp, Ellen pulls out her phone and shows Man-Thing a picture of she and Ted from happier times. 

Flashback: Ted and Ellen sit shoulder to shoulder, staring into a containment tank where a test subject -  a mouse, glowing faintly with stable markers - stretches out on soft bedding. No anomalies. No collapse. It’s their first clean success in weeks. Ted rests his chin on his fist, studying the readout. Ellen tells him it’s okay to be proud. He shrugs - says it’s just a test. She watches him a moment longer than she should. Says she misses when they used to be people, not just data. He says this is how he loves - by fixing what others ruin. She says that’s not the same thing.

The fires in the swamp have finally died down. Man-Thing moves through the ash-filled waters. As he moves, the swamp begins to regenerate around him. 



Tuesday, March 24, 2026

From the Desk of Alfie Ellison, VP of International Development: A Season of Ashes

 

Academy Award–winning filmmaker Alfonso Cuarón (Roma, Beasts) is set to direct A Season of Ashes for Last Resort Films, an unflinching new historical drama that will bring one of Mexico’s darkest and most silenced chapters to the screen: the 1968 Tlatelolco Massacre.

The film will dramatize the days leading up to October 2, 1968, when government forces opened fire on thousands of student demonstrators gathered at the Plaza de las Tres Culturas in Mexico City, just ten days before the Olympic Games. The massacre, long denied and obscured by the state, left hundreds dead or disappeared, and remains a wound in the nation’s collective memory.

Cuarón, who has frequently explored the intersection of personal lives and political upheaval in his films, is expected to approach the story with a blend of sweeping historical vision and intimate character work. A Season of Ashes will follow a group of young people caught in the tide of protest and repression - capturing the exuberance of youth movements, the dread of authoritarian power, and the irreversible toll of state violence.

“This is a story that belongs to Mexico, but it is also a story that belongs to the world,” Cuarón said in a statement. “The events of 1968 echo across generations - the suppression of voices, the fear of youth, the erasure of truth. Cinema has the responsibility to remember what others would prefer be forgotten.”

Industry insiders note that A Season of Ashes may be Cuarón’s most personal project since Roma, once again grounding the political in the intimate and the historical in the human. At the same time, its unflinching depiction of authoritarian violence feels urgently contemporary, a work designed to speak to audiences far beyond Mexico.

The film is being developed as a bilingual production and is expected to shoot on location in Mexico City, with Cuarón employing a mix of archival techniques and immersive realism. Last Resort Films emphasized their commitment to authenticity, working with historians, survivors, and families of victims to ensure the narrative honors the truth of what transpired.
Casting details remain under wraps, though the ensemble is expected to blend established international actors with emerging Mexican talent.

For any inquiries please contact LRF Vice President of International Development Alfie Ellison

A Season of Ashes
Project Details
A story surrounding the Tlateloco Massacre
Attached Talent
Director Alfonso Cuaron

COMIC BOOK GUY (SEASON 10)

 

Greetings, true believers and casual popcorn munchers! Welcome to the segment where we dive into the cinematic wonderland of spandex-clad saviors, shady billionaires, and CGI explosions so dazzling they can short-circuit your common sense. Whether you're here to bask in the glory of heroism or cringe at dialogue that sounds like it was written by AI trained on a teenager's fanfiction, you've come to the right place. Strap in for overanalyzed action, questionable character arcs, and the occasional sarcastic jab at a franchise that swears, this time, it’s finally going to get it right.




METAMORPHO
If you’ve ever wondered what would happen if a chemistry set and a telenovela had a baby, Metamorpho has your answer, and it’s as bizarre as it sounds. Edgar Ramirez shines as Rex Mason, a suave adventurer turned walking science experiment, delivering one-liners even while transforming into a balloon or an alphabet soup of vengeance. Hugo Weaving’s Simon Stagg is peak evil billionaire, equal parts charming and "Please, someone shove this man into a vat of acid." Rory McCann’s lovesick brute Java is both tragically pathetic and unintentionally hilarious, particularly when he sets a mansion on fire because of unrequited love. The movie leans heavily into its weirdness, serving up CGI madness and body horror that somehow works thanks to Scott Derrickson’s steady direction. It’s not perfect, but watching Metamorpho save the day by spelling insults mid-fight might be the most chaotic fun you’ll have all year.




JUSTICE LEAGUE INTERNATIONAL
Imagine giving Michael Bay unlimited access to DC’s B-list heroes and telling him to go wild—Justice League International is exactly what you’d expect, for better or worse. Armie Hammer’s brooding Green Arrow anchors a team of chaotic misfits, including Glenn Howerton’s Plastic Man, who alternates between melting into puddles and stealing every scene with snarky quips. Meanwhile, Billy Magnussen’s Booster Gold is the lovable doofus who’s somehow crucial to saving the day, and Lee Pace’s Maxwell Lord is a walking Bond villain parody, smirking his way through every act of destruction. The plot is thinner than Wonder Woman’s lasso but serves as a vehicle for city-destroying action sequences and team banter so ridiculous it almost feels improvised. Is it smart? No. Is it entertaining? Absolutely. By the time the team leads an army of drones to the Sahara Desert for an explosive showdown, you’ll either be grinning like a fool or questioning your life choices.

Monday, March 23, 2026

Release: Behind Closed Doors

 
Behind Closed Doors
Genre: Drama
Director: Mike Leigh
Writer: Holden Abbott
Cast: Marianne Jean-Baptiste, Damson Idris, Letitia Wright, Hannah John-Kamen, Kaylen Luke, Remmie Milner, Jack Bannon





Budget: $15,000,000
Domestic Box Office: $7,449,944
Foreign Box Office: $4,100,034
Total Profit: -$12,097,000

Reaction: Small intimate dramas are always going struggle to find an audience in theaters - and this one was no different.




“Behind Closed Doors is a tender, understated family drama, carried by great performances. Marianne Jean-Baptiste brings a quiet gravity to the film, while Damson Idris showcases some raw vulnerability, a father wishing to connect with his son. The film lingers on small domestic details like tea, gardens, silences to capture fractured bonds slowly knitting themselves back together. At times it feels too safe and repetitive, circling conflict without cutting deep, but the performances and final moments of fragile connection give it a certain weight.” - Billy Laken, The Washington World


"Behind Closed Doors is a quietly affecting ensemble drama led by an excellent Marianne Jean-Baptiste. Strong supporting turns from Damson Idris, Letitia Wright, and Hannah John-Kamen deepen the film’s sense of lived-in melancholy, even if its low-key approach keeps it from fully cresting into something more powerful." - George Ryan, Philadelphia Inquirer




"Despite strong performances, Behind Closed Doors often feels overly muted. Mike Leigh’s naturalism stretches scenes thin, circling familiar emotional territory without enough escalation or payoff. Marianne Jean-Baptiste holds the film together, but several storylines feel underdeveloped, leaving the experience sincere yet emotionally distant rather than deeply moving." - Charlie Sage, HBC-TV










Rated PG-13 for language and thematic elements.






Top 10 Leonardo DiCaprio Films

 

Sherman J. Pearson here for another Top 10. Leo has done it! He's finally starred in his 10th film for the studio, which means I finally get the pleasure of going back through his very strong LRF filmography for a Top 10 list.

Top 10 Leonardo DiCaprio Films
10. Golden Girl
9. E.P.
8. Moon Knight
7. Calamity
6. Rubicon Lies
5. Sinatra
4. Blackwater
3. Caesar
2. Caesar Part II
1. Caesar Part III

Sunday, March 22, 2026

Now Showing: Behind Closed Doors

 
Behind Closed Doors
Genre: Drama
Director: Mike Leigh
Writer: Holden Abbott
Cast: Marianne Jean-Baptiste, Damson Idris, Letitia Wright, Hannah John-Kamen, Kaylen Luke, Remmie Milner, Jack Bannon

Plot: We open on a quiet morning as we linger on a cup of tea left on a table, an untouched letter from the bank, and the sound of a kettle whistling in the background. Margaret (Marianne Jean-Baptiste) methodically moves around her house, a routine never missed, tidying the house, making herself some crumpets. Her movement is efficient but almost mechanical. She stops in her tracks and takes a long look at a photo of her late husband, she sighs, putting it back down. She heads out to the garden and waters her plants. The camera lingers on her as she pulls weeds - she does this without thinking - her mind elsewhere. Her phone rings so she shoots inside - it’s her son Tommy, calling to confirm plans for the weekend. She sounds tired, but her voice brightens when she speaks to him. It’s clear they talk often, but there’s an emotional distance between them.

Tommy (Damson Idris), is in his small cluttered flat, preparing for his weekend visit with his mother. He tries to make the place look presentable but becomes frustrated at the cleaning. It is a stark contrast to the cleanliness of his mother’s place. He continues to clean when his phone rings. His ex-wife, Marian (Remmie Milner) arrives with their son James (Kaylen Luke). James heads inside with Marian speaking to Tommy about James’ football game on the weekend, Tommy mentions he’ll be there. Marian reminds Tommy that she will be back to pick James up in a couple hours, she thanks him. Tommy shuts the door before hanging his head, a brief moment of vulnerability. He approaches his son, but their interaction feels strained. Tommy’s attempt to engage with his son is met with indifference, James rather plays by himself.

Nina (Hannah John-Kamen) is cleaning a small office building. She’s warm and talkative. We see her interacting with various office workers as she cleans, trying hard to remain friendly but seeming out of place. She is approached by Barry (Jack Bannon), the two obviously have history - the conversation is very short but Nina seems hopeful that they may have a future. After Barry leaves she tries to start small talk with any office worker but it seems no-one would give her the time of day. A wry smile but a look of sadness lingers on her face.

Margaret prepares some food for Tommy’s visit, she hears a knock at the door and answers it. Her niece Ava (Letitia Wright) is standing there with a bag, she has tears in her eyes and asks Margaret whether she could stay for a little bit. Margaret welcomes her in, hugging her telling her she always has a place here. Margaret offers her tea but Ava just wants to go and sleep.
Tommy arrives to visit, he tries to remain upbeat with his mother but it’s clear he isn’t in the best mental space. Margaret continues to prepare dinner, and the two of them have a fragmented conversation, about James, about Ava, and about themselves. Tommy unloads his frustrations about his failed marriage and the difficulty co-parenting with Marian. Margaret tries to be supportive - offering practical advice - suggesting Tommy be patient or understanding. Tommy seems visibly frustrated by her inability to empathise with the real complexity of his situation. Before it gets too far they both acknowledge their late husband / father but it doesn’t get any deeper. Instead Ava comes out and unknowingly interrupts the two. She gives her cousin a side hug before mentioning that she’s starving. The three eat.

Margaret lies in bed, awake in the dark. She stares at the ceiling, lost in thought. She’s restless. She gets out of bed and begins writing in a journal, attempting to process her feelings. She puts the journal down after only a few lines. She begins to cry. Ava hears her aunt and stands at the door, contemplating whether to enter the room. She does, she sits next to her aunt, places one arm around her. Margaret places her head onto Ava’s shoulder as the two sit and hug in silence.

Ava leaves Margaret’s room and also the house. She lights a cigarette and goes for a walk. She ends up seeing Nina walking by herself - recognising her she catches up. The two of them hug. Nina asks how long it’s been. Ava mentions since high school. The two of them walk together and strike up a further conversation. They find a park bench to sit on and the two of them speak for hours. The light chat begins to get deeper, with both mentioning past heartaches - Nina with Barry and Ava with her own (she does not mention a name). Nina mentions that she has no friends, no family, she seems stuck. Ava smiles, she says that she has her now.

Tommy is at his mother’s house once more for Margaret’s birthday. Ava comes through the front door, behind her is Nina. She asks Margaret if it’s ok her friend joins them, Margaret tells her of course, the more the merrier. The birthday is going amazing, everyone is getting on. Ava goes out for a smoke, leaving Nina with the family, Tommy then follows Ava, Nina is left with Margaret.

Outside Ava and Tommy talk as they smoke. Ava accidentally mentions Marian, this sets Tommy off. They get into a heated discussion with Tommy yelling at her about her life choices, failure. Ava laughs at him - he has obviously projected his own sense of failure on her. Margaret excuses herself from Nina, walking outside and confronting the two. However, instead of silencing the conflict she ends up revealing more of her own unresolved pain. Nina just quietly listens from the front door.

Margaret and Tommy sit alone in the living room after the Ava leaves with Nina. The camera focuses on the long silences between them as they process what's been said. The two of them then have a heart to heart. Margaret says it might be about time that the two of them stop living in the past, and move forward. Tommy agrees, but just isn’t sure how. Margaret tells him that he needs to want to spend time with James, not just because he has to but he needs to be interested, his father always was. They continue their nice peaceful conversation, the first they’ve had in a while.

The next morning Nina rings Margaret’s number, having got it from Ava, asking if she wants to meet up for tea. Margaret, in a rare moment of spontaneity, agrees. They meet at a small, local café, tucked away in a quiet corner. Their conversation drifts from mundane topics to something more personal. Margaret, who’s always been guarded about her emotions, finally begins to open up to Nina about the burden of loneliness. She talks about how she feels disconnected, even from her son, and how much she misses her husband. Nina, ever the optimist, listens quietly. She then confesses how she feels invisible to the people around her – like a shadow, passing through life without truly being seen. There's a rawness in her eyes, something that resonates with Margaret. The two of them share a moment of quiet understanding, a bond beginning to form between them.

The tension between Tommy and Ava continues to simmer. They both go for a walk, trying to make amends after their explosive argument. But as they walk, Tommy brings up his failed attempts at connecting with James. He tells Ava that he feels like a stranger to his son, unsure of how to be a good father. Ava, on the other hand, brushes it off. She insists that Tommy is overthinking everything, but her words feel like she’s deflecting. As the conversation continues, Tommy grows more agitated. He tells Ava that she's living in denial, constantly avoiding facing her own emotional wounds. Ava reacts defensively, the old friction between them coming to the surface. The walk ends with them in an awkward silence. They don’t know what to say to each other anymore, but the cracks in their relationship are deepening.

The weekend arrives, and Tommy is at James' football game. He watches from the sidelines, trying to engage with his son, but James seems uninterested, more absorbed in his own world. Tommy calls out to him from a distance, but his son doesn’t respond. After the game, Tommy tries to give his son a high five, but James just shrugs him off. Frustrated and heartbroken, Tommy watches James walk away with Marian. A moment of realization hits him — maybe the connection he’s been desperately searching for is not just about physical presence but also emotional vulnerability, something he’s been avoiding. As he drives home, he makes a decision to reach out to James more, not just as a father, but as someone who wants to understand his son. Later that evening, Margaret and Nina sit together in Margaret's garden, sharing a quiet moment as the evening sun sets. Nina, having spent time with the family, confides in Margaret about the challenges of living alone and her sense of displacement. Margaret, who has always been a caregiver, listens intently. The camera lingers on their faces, capturing the growing connection between them — two women who, despite their differences, share an undeniable understanding. Suddenly, Margaret reaches out, touching Nina's arm lightly. She says, “You don’t have to be alone.” Nina smiles softly but doesn't respond immediately. The two of them sit in silence, but it’s not uncomfortable. It’s a peace neither of them has known in a long time.

Tommy finally reaches out to James after a few days of reflection. He invites James to spend some time together, just the two of them. This time, there’s no pressure, no expectation — just a quiet moment shared between father and son. They go to a small café, awkwardly at first, but eventually, they begin to talk. Tommy listens more than he speaks, realizing that James, like him, has been carrying his own struggles and frustrations. Tommy, understanding for the first time that it’s not about fixing things, but simply being present, places his hand on James' shoulder and tells him that he’s there for him, no matter what. James, visibly moved, looks up at his father for the first time in a long while. The camera holds on their faces, capturing a fleeting moment of true connection.

We return to Margaret’s house. It’s the evening, and the family gathers together, more unified than before. The camera slowly pans across their faces — Margaret, Tommy, Ava, James and even Nina. There is an air of quiet resolution in the way they look at one another. They are no longer just individuals bound by the weight of the past. The silence between them feels more like an understanding, a bond that, while fragile, is beginning to form. Margaret stands up, excusing herself from the table. She walks into the kitchen, her movements calm but deliberate. The camera stays on the rest of the group, waiting. Then Margaret returns with a tray of tea, a gesture of both hospitality and healing. She places the tray down and quietly says, “Maybe we don’t have to have all the answers... but we can try.” Her voice is gentle, but firm, and there’s a quiet strength in her words. The camera pulls back as they all sit together at the table. Ava and Nina exchange a subtle glance, and Tommy reaches over to give James a light pat on the back. The small, imperfect moments of connection — between mother and son, between past and future — are enough to hint that there’s hope for all of them.