In Scott McGehee and David Siegel’s The Friend, the noble profile of a solemn, aging Great Dane named Apollo takes center stage, encapsulating the film’s exploration of pet ownership and its challenges in New York City. Premiering at the New York Film Festival, this film stands out from typical dog-centric narratives by focusing on the animal’s genuine nature without anthropomorphizing it. Apollo, portrayed by a remarkable dog named Bing, shines as a character in his own right, conveying emotion and depth without ever revealing his inner thoughts—an intentional choice that enhances the film’s themes.
At the heart of the story is Iris, played by Naomi Watts. In a role that allows her to showcase a relatable mix of fragility and determination, Iris is a creative-writing instructor who unexpectedly becomes the caregiver for Apollo following the sudden death of his mentor, Walter, portrayed by Bill Murray. The film opens with Walter recounting the unlikely circumstances of how he adopted Apollo, describing a poignant moment where he discovered the dog sitting quietly on a hill near the Brooklyn Heights Promenade. Their discussion about words and stories sets the tone for the film’s literary exploration, underscoring the bond between characters through witty banter and philosophical debates.
The Friend, adapted from Sigrid Nunez’s National Book Award-winning novel, resonates with a literary ambiance. It is a film that would appeal to book clubs and writing seminars alike, filled with intellectual discussions and set against a backdrop of classical music. Its thoughtful narrative invites viewers to ponder deeper themes without necessarily resolving them.
Iris resides in a rent-controlled Manhattan apartment that prohibits dogs, but she adopts Apollo at the insistence of Walter’s widow, Barbara, who believes Walter wished for this arrangement. Despite a past romantic connection with Walter, Iris finds herself grappling with her role as a friend rather than a lover, feeling the weight of her unfulfilled attachment. The film hints at deeper layers within Iris’s character, particularly regarding her father, but avoids explicit psychoanalysis. Instead, it suggests that caring for Apollo compels Iris to confront her own self-identity and relationships.
As Iris navigates the complexities of pet ownership, her connection with Apollo gradually deepens, leading her to reflect on her own life. This narrative arc, while predictable, resonates with the audience, illustrating the journey of self-discovery through the lens of animal care. The filmmakers, McGehee and Siegel, exhibit a distinctive style that elevates emotional storytelling without descending into sentimentality. Their previous work, Bee Season, similarly blended mainstream themes with unexpected depth, showcasing the intricate dynamics of family and personal ambition.
While The Friend operates effectively as a dog movie, it transcends typical genre boundaries to delve into the profound implications of caregiving and the inherent mysteries of existence. By the time Iris contemplates Apollo’s past and the unknowable aspects of his life, the film articulates a broader message about the enigmatic nature of all souls. Ultimately, The Friend invites viewers to reflect on their relationships—not just with pets, but with each other, emphasizing the beauty and complexity of caring for another being.
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