Writer and director Naomi Jaye has achieved the remarkable by transforming the seemingly mundane tale of a soft-spoken librarian into an eloquent and captivating film. Britt Lower (known for Severance) plays Miriam, who works in a neighborhood library in Toronto, spending her lunch breaks alone in a nearby park. Her serene yet robotic journey through the library stacks leaves us to ponder if her placid demeanor masks deeper emotions.
The film’s narrative follows Miriam as she enters a relationship with Janko (Tom Mercier), a Slovenian taxi driver and artist she observes each day in the park. What stands out is how Jaye balances this primary story with Miriam’s intricate inner world, transitioning smoothly between her memories and present observations. Despite occasional poetic touches, the film maintains its grounding in reality.
Much of this believable world depends on Lower’s layered performance. Even when Miriam is enigmatic, Lower suggests the depth and, as it turns out, grief beneath her self-protective calm
. The tone remains light at times, evident when Miriam wryly narrates about regular library patrons like “Suitcase Man” and “Fainting Man.”
The Enigma Wrapped in Letters
Gradually, surreal events unfold. Miriam discovers letters hidden in books, signed Rigoletto—the same name from the opera her father once took her to see. One letter declares, I am Rigoletto and I will not be doing any more suffering
. Some letters are eerily specific about Miriam’s actions in the library.
This thread doesn’t follow a strict detective path; even though other characters read the letters, they serve more as psychological keys to Miriam‘s complex mindscape. Her father plays a crucial role here; halfway through the film, we learn he has passed away. Yet in her memory, he sits surrounded by ceiling-high piles of books—an image signaling something amiss. However, she tells Janko he’s alive and working as an insurance salesman.
A Cinematic Balance of Elegance and Reality
Mercier’s portrayal of Janko aligns perfectly with the film’s understated approach. Janko is equally quiet but more straightforward than Miriam. He affectionately calls her “Darkest Miriam” while his paintings include all-black canvases with intriguing textures. They seem well-matched as a pair.
The story is adapted from Martha Baillie’s 2009 novel The Incident Report. While the book consists entirely of library reports filed by Miriam, the film embraces ambiguity by letting viewers piece together events themselves. Odd occurrences build up: one evening, riding home, Miriam falls into a construction pit but gazes up at the stars unhurt. During a hospital check-up, uncomfortable questions arise about her mental state.
Sublime Directorial Choices
Naomi Jaye impressively directs this feature with nuanced cinematography that knows when to move fluidly or remain still. A memorable scene has Miriam seducing Janko without preamble—she pauses at his apartment door before disrobing decisively. The film brims with risky yet effective choices.
Between significant moments, close-ups of park flora juxtapose with Miriam’s father’s cluttered garage—symbolic contrasts delivered without pretension.
An Unexpected Conclusion
The film reaches an unforeseen dramatic climax where Lower’s performance draws out deep emotional agony from Miriam’s character. Yet hope shines through by the end—a bittersweet fusion making this film compelling.
Executive produced by Charlie Kaufman whose imaginative approach resonates with Jaye’s vision—though ultimately it is her unique artistic voice that stands out.
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