Janet McTeer, then, as the boozy, manipulative, mad-as-hell Meredith, is venom incarnate. Her Josie is the point of interest, as the film begins and ends with her, and the viewer wants to see her start anew. Stretching beyond her supporting roles that of the acerbic best friend, which she still always handles with likable, quirky aplomb, Alia Shawkat is excellent, layering her accessible presence with raw, intense emotion. Together, they’re simultaneously poisoning and curing each other. Though one is poor and one is rich, and one is young and one is older, Josie and Meredith are both deeply flawed, damaged women. They hate each other, but they might also need each other. From there, the grieving Josie and Meredith share a mutual self-destruction in wake of the death of a young man they both loved. Then at Michael’s funeral, just as she goes up to a set a white rose on his casket, Josie is angrily confronted by Meredith with a slap to the face, clawing her stockings and dragging Josie closer to her on the carpet. It’s from Michael’s mother, Meredith (Janet McTeer), a former concert pianist, who guilts Josie into thinking Michael wouldn’t have committed suicide if he had ever met her she wants Josie to suffer the way she’s suffering. In a state of shock, Josie numbs her pain by going back out to a punk club again, but when she gets home, she gets another call. After a night of partying, she gets a call early the next morning from the police, who found her phone number registered at a hotel with the dead body of a white male identified as Michael - he has killed himself. Echo Park punk-rock artist and nude model Josie Tyrell (Alia Shawkat) hasn’t seen her live-in poet boyfriend, Michael (Rhys Wakefield), in about a week.
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