Mary is a recent divorcee, having broken things off with her abusive husband, Steven. She moves out of their once shared home and into an apartment. However, Steven doesn't want to get over Mary and so bombards her with a deluge of calls, so much so that she puts out a restraining order on him.
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My focus on the lips wasn't by chance, Parkhill actually opens and practically closes the film with zoomed shots of the lead's puckers. In Dot the I, the camera follows lips and eyes almost reverentially. It's as though Parkhill believes he can capture the soul of his actors in close-up shots of their faces. It's telling because despite the pretension of depth, the film is quite superficial, with an odd, almost off, affectation. Parkhill wants to tell us an engaging, deliriously snappy story but he loses us with half-baked dialogue and patchwork style.
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