We Don't Live Here Anymore

Synopsis: The movie is set in the Pacific Northwest; specifically, Washington state. We know this from a glimpse of a license plate, the craftsman architecture of the two houses, and the mature, rich landscapes in between. The setting, like the scrutiny of the four main character's lives, is defined by the narrowness of the camera's field-of view. The one commercial street in town is only seen in the reflection of a store window, a shot of a non-descript auto-yard, or the tunnel of a tree-lined suburban sidewalk. The lush, wooded landscape is understood as an immediate presence in the domestic and professional lives of the characters; a steep hill, railroad tracks, a rushing stream, and a path over an old steel bridge are revisited again and again by the characters in their capacities as lovers, parents and friends.
Genre: Drama, Romance
Director(s): John Curran
Production: Warner Independent
  2 wins & 4 nominations.
Rotten Tomatoes:
101 min

You want a drink?

I think we're out of beer.

- We out of beer?

- You're empty.

- I'll go get some.

- I'll go.

- No, I'll go. I don't care.

- No, I'll go. I could use the air.

Jungle warrior!


What are we doing?

I don't know.

Should we stop this?

Stop what?

- Oh, my God.

- Should we stop?

- No.

- I don't ever wanna stop.

- I don't either.

- I'll meet you tomorrow at 12 at Shane's.

- Yeah, okay.

- All right.


- Bye, you guys.

- All right. Good night.

- Come here.

- What?

- Come here. Get in here.

- What? Terry?

What's the matter?

No more of this crap, all right?

From now on, we act like a married couple.

- No more flirting around. You understand?

- No. How could I?

Who can understand

such a flaming pile of bullshit?

Oh, Jack. Come on, don't play dumb.

- Please.

- Terry...

...why don't you have some wine.

We've been drinking gin.

I don't want wine.

Let's talk about this in the morning.

You're drunk and we're gonna fight.

And you have that look of yours.

Forget that look of mine.

Let's talk about you and Edith.

The little trips you take.

These damn errands.

Somebody runs out of something...

...some goddamn egg rolls, and off you go,

you and Edith.

Egg rolls? Really?

Egg rolls?

What are you talking about?

You know, you shouldn't

leave me with Hank...

...and put me in that position.

- What position?

- Jack, listen to me.

- What?

Something's going on.

I mean, either you want it to,

or it is.

That is such a lot of horseshit. Okay?

What is wrong with me and Edith going off

to get a goddamn six-pack of beer?

What are you really worried about?

It's you and Hank being left alone together.

- I see you two. You're horny for Hank.

- Oh, please.

- I'm supposed to feel guilty because of that?

- I'm horny for my husband.

Jesus. We're not a couple of f***ing

honeymooners anymore, for chrissake.

Why aren't we?! We've been married

so long that you're bored?

- Terry.

- No. Is that what it is?

- You can leave anytime.

- Terry...

Maybe we should talk about...

...how long this is gonna last.

- Terry!

- I am not going anywhere!

- The kids'll be fine.

If you're suffering...

...if this is such a disappointment.

- You're the only wife I know...

...that gets pissed off at her husband

for not hanging on her at a party!

- Husbands touch their wives!

- You see Hank fondling Edith every second?

Hank doesn't love her.

He told me while you were out.

- He said that to you?

- Yeah.

- Oh, yeah?

- Yeah.

Why? Why did he tell you that?

I don't know. He just said it.

What were you doing?

He just blurted that out? Seems odd.

We were talking.

How else do people tell each other things?

When people say things like that

they're doing other things.

Yeah, I was blowing him on the porch.

- What do you care?

- I don't.

- As long as you tell me the truth.

- The truth?

Jack, you won't even admit the truth.

- You don't really love me.

- Terry, it's not true.

It's never been true. And when you say sh*t

like that, for one minute it is the truth!

- Do you understand me?

- F*** you!

F*** you!

Goddamn it!



I'm trying to concentrate!

Give me back my paper!

Oh, sh*t.


Stop it! You're making too much noise.

Oh, sh*t.


Stop it!

Come back here!


- Mom!

- What?!

Go to school.

It's summer. I don't have to.

You go to school.

It's Saturday. I don't have to.

So, what are you gonna do today?

Make up stories.


Make people laugh. Make people cry.

But why?

- Hey, have you seen my keys?

- Yeah. They're over here.

The sitter's coming over in a couple hours.

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Larry Gross

Larry Gross (born 1953) is an American screenwriter, producer, and director. He is a visiting professor of film and new media at New York University Abu Dhabi. Best known for his collaborations with Walter Hill, his credits include 48 Hrs. (1982), Streets of Fire (1984), and uncredited contributions to Ralph Bakshi's Cool World (1992). He won the 2004 Waldo Salt Screenwriting Award at the Sundance Film Festival for We Don't Live Here Anymore (2004). His criticism has appeared in Film Comment and Sight & Sound.Gross attended St Edmund Hall, Oxford and Bard College, from which he graduated in 1974. He later completed an MA in English at Columbia University (where he subsequently served as an adjunct assistant professor of film) and an MA in film studies at New York University.In 2008, Gross who is the co-writer of 48 Hrs. has his contemporaneous diary of his days on set published on the MovieCityNews website. more…

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Submitted on August 05, 2018

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