Iris (Morton) has always been jealous of sister Rose (Rushbrook), but when their mother (Tushingham) dies, she's thrown into numb, furious confusion. Rejecting her old life (Rose and boyfriend Gary), Iris turns instead to the discomfort of strangers. At first glance, writer/director Adler's film seems extremely thin. Morton has charisma in spades and wears oddball clothes well. Such blasted poise proves irresistible to Adler, whose frenetic camera feasts on Morton as if she were a piece of meat. We never believe Iris is part of a community; she's more a wandering Lolita, slumming it among ignorant, treacherous low life. And though the sexual commentary is clearly intended to be cold, it's also tiresome. Are the sex scenes exploitative? Who can say. In the last third, however, Adler's strategy becomes clear: she's been playing a waiting game. Rose acquires an integrity that goes beyond mere respectable virtue, and when Iris's grief thaws, her helpless, animal-like pain is overwhelming. More surprisingly, our sense of the will-o'-the-wisp mother gathers force, the 'story' of her complex mothering told through the daughters' pinches, pokes and eventual tender fumblings towards each other. In its own twisty way, then, the film avoids both sentimentality and art-school cool, and with the help of superlative performances from Morton and Rushbrook, digs deep into the psyche.