For starters, Sevigny and Malone look more like sisters than many actual sisters, adding more affect than one might expect. The introduction to THE WAIT is great, it's subtle yet captivating and anyone who's gone through the experience of a like death (usually the big "C" involving a parent or grandparent) will immediately pick up on the chilling vibe. From there we begin a trip with the three bereaving children, beautifully encased in a gorgeous Oregon setting that is alternately threatening, benign, active and sterile. Sevigny does her usual wonderful turn, herein as sort of a passive-aggressive sister. Was unfamiliar with Malone, who steals the show. Young brother also engrossing. On one hand, captivating this film is!; i.e., to the point that the viewer (certainly THIS viewer) may become indifferent to whether the major plot item - mom's dead! - is even resolved. On this thought I was almost disappointed at the head scratching, curious attempt at resolution at the very end. Yes there are plot lines and characters aplenty completely untreated when the credits begin to roll. But the virtual submersion into THE WAITS' atmosphere leads me to recommend a watching. PS/The comparison to a David Lynch film; e.g., both the ambiguity and the TWIN PEAKS setting, comes to mind, though those put off by Lynch's strangeness, violence, etc., need not fear herein.
