Metaphorical horror about the mourning process, Anna loses her best friend Izzy and Anna's will progressively begin to withdraw into herself where her body and her attitude will begin to change, resembling those of a cat .

Debut film for Mary Dauterman who manages to instil a sense of closure in the protagonist. The scene where through camera movements we move away from Anna framed through the door lock or even the scenes where the protagonist enters dark rooms makes us understand her state, her closure in herself and this journey towards darkness.
The feeling of loneliness is strongly present when, for example, Anna is framed in her room and in general when she pushes everyone away.
This is because the film represents how mourning, a difficult moment, is clearly difficult to manage but also like all the characters around, despite wanting to help, they expect something specific while perhaps there is no pre-established way to process and overcome this moment and difficulty.
So Anna, who argues with the boy Max, is absent from the job, he is unable to have real conservation with Izzy's mother, Joyce. Even if the intentions are sincere like those of Max and Joyce, the characters would like to involve her, they expect her to speak at the funeral, Max, to lighten things up, wants her to sing Izzy's favorite song, he wants to share moments but Anna is absent, demonstrating how her mourning process is different from what others expect, she has difficulties, she is withdrawing into herself and has to overcome the moment.

So the nightmares, the dream moments, Anna's body takes on certain features and he poses as a cat because Booger, the cat he practically shared with Izzy, of whom Anna is very fond, represents the past. In reality, Booger hasn't been around for two years but Anna is still looking for him, she can't get over the moment so she's anchored to the past and therefore her body has constant vomiting, as if she had to reject everything.
Max and Joyce would like to help her but Anna is unable to move forward, she pushes them away and her dark spiral seems endless.
The final sequence is emblematic where after the nightmare she wakes up inside an animal cage, where there is a black cat that should be Booger, so Anna is imprisoned, she is closed, when she escapes from the cage and returns home with Booger this is framed between the wheels of the bicycle when again a shot that recalls imprisonment, the element of exit, of the opening is the window and in fact the cat that leaves from the window represents the exit, the opening, finally Anna comes back to herself and the shower scene where she sings Izzy's favorite song at Max's house signals that the torment is over , so much so that the protagonist will also get closer to Joyce.
In the film there is no shortage of comedy and ironic moments, Mary Dauterman does a good job in the dreamlike moments which work well, the staging of these is good and the scene is remarkable where Anna and Booger overlap with green and red lights to create atmosphere and an evocative shot.

It's a metaphorical horror so the horror component isn't too present, it's a bit of a shame, the film tends to it is a dramatic body-horror and the body-horror element could have been insisted upon more and shown something more in terms of the mutation of the body, especially in the dreamlike moments.

However, the film completes its narrative , the intent is clear, perhaps the scenes of vomiting and Anna's body rejecting everything are a bit reiterated, the dream moments on the other hand work, they are also atmospheric and suggestive and also how Anna withdraws into herself, the relationships with Max and Joyce are well managed.

We'll see what Mary Dauterman has in store for us in the future, whether she will continue with horror and if so, I hope she insists more on this component also because there seems to be some potential, in any case a d 'a debut that I recommend, especially to those who like horror films where there is a strong metaphorical component.