![]() All this goes on in a depressed environment filled with trailer dwellers, grungy bikers, all-day beer drinkers and all-round no-hopers-Trump-country, some will call it. The older Mercy is decidedly the aggressor, dropping suggestive innuendo and seemingly stimulated by Lucy’s self-protectively sarcastic remarks on a moment-to-moment basis, the interplay between the two is engaging and rife with an erotic undercurrent. ![]() What’s agreeable and appealing here is how slowly and naturalistically matters gestate between the two it does seem somewhat contrived that two such diametrically opposed women could clear a path toward a relationship, but their obsessions overlap to a degree, just as there could be unknown separate issues that bring them together. Still, love has overcome bigger obstacles than this, and it’s pretty clear from the get-go that Mercy has something on her mind other than carrying signs and batting around the age-old arguments. ![]() Mercy is on hand because the man who’s about to have his final meal smoked the partner of her police officer father cop killers deserve no leniency in her book. Martha, in particular, refuses to accept Dad’s guilt and still hopes to find enough exonerating evidence to get him off the hook. Lucy, whose wardrobe initially seems to consist exclusively of an anti-death penalty t-shirt, is there with her older sister Martha (Amy Seimetz) and younger brother Benjamin (Charlie Shotwell) because their father (Elias Koteas) is on death row for murdering his wife-their mother-eight years earlier. The two women are on opposite sides of the debate.
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