Andrew Haigh's new film, adapted from Colm Tóibín's 2006 short story, shifts the original setting from the 1930s Spanish Pyrenees to the cold, isolated landscapes of Colorado during the Korean War. The film is described as a poignant and subversive exploration of grief and desire, focusing on the emotional isolation of men living without women. It features strong performances and striking cinematography by André Turpin, creating a visually and emotionally rich experience. The story follows Lester, played by Ebon Moss-Bachrach, a grizzled man living in a remote Colorado farmhouse with his family. His son Tommy, played by Kit Connor, is about to leave for military service, leaving behind his younger brother Mikey (Fred Hechinger), who harbors secret gay feelings. These feelings are shaped by his occasional access to glossy Cosmopolitan magazines, which belong to their mother, Louise (Caitríona Balfe). Louise, a semi-functional alcoholic, hides her inner world and unfulfilled desires through her collection of LP records. Her husband, Lester, once had a passion for music and craftsmanship, but now he is distant and unkind. Louise's struggles with alcohol and her fading sense of self are known to the people around her, though she hides them from her sons. After one of her drinking episodes, she disappears during the harsh winter. The local authorities and search party suggest that the search for her should wait until the snow melts, which will make the task more difficult. As winter sets in, Lester, who is not skilled in household tasks, takes in a local biracial boy named Jimmy (D’Pharaoh Woon-a-Tai) to help with domestic duties. Though Jimmy faces Lester’s harsh and homophobic treatment, Mikey feels a connection to him. The film portrays a shift in the household’s mood from anguish to a strange, almost carefree state of bachelor freedom. Perry Como’s song "A Dreamer’s Holiday" plays on the soundtrack, possibly from Louise’s abandoned record collection. It underscores a feeling of helplessness and a suspension of time, as the men are left to navigate life without the usual responsibilities of family. Mikey and Jimmy explore the snowy landscape, finding a kind of freedom that might be possible only because Mikey still clings to the hope that his mother is alive. Meanwhile, the household shares limited resources, like bathwater, but no violence or resentment erupts. Haigh suggests that even in their emotional neglect and denial, the men find a strange, unexpected happiness. The film delves into the often unspoken effects of loss and grief, portraying a surreal sense of liberation from the burdens of daily life. It captures the emotional complexity of men dealing with loss, showing both their fragility and resilience. As the winter drags on, the characters are caught in a liminal state—neither fully mourning nor moving on. The film ends with an enigmatic reflection on the paradox of grief, where the thaw that brings change is also a new kind of freeze, leaving the audience to ponder the delicate balance between sorrow and freedom.