Will believes his wife Rosalind is innocent of their son's suspected murder, only to discover the devastating truth behind her past links her to another unsolved crime.
The film’s pained, ugly revelations finally carry more weight than any amateur detective work leading up to them: a #MeToo reckoning hidden within a glinting, noir-esque hall of mirrors.
I suppose director Paula van der Oest was trying to go for some kind of European Gothic feel, but something this unsavory needs to move a lot faster than this. This contraption is slower than molasses in winter.