It’s just one of many silences that stifle the characters. The movie, written by Ramsay and the playwrights Enda Walsh and Alice Birch, finds Grace pregnant when the couple arrives at the old house. The baby (whose name, Harry, isn’t heard until late in the film) just suddenly appears, several scenes in. By that point, still early on, Grace’s fierce energy—pinned to the screen as if on an index card by a thrashing dance sequence in the cleaned-up kitchen—already shows signs of chaos and danger. When Harry is introduced, Grace is seen crawling in high grass near the house, a big knife in hand, which she’s still holding while coming up to the porch and admiring the infant. (Fear not.) Harry’s arrival has hardly changed Jackson’s life, which is largely centrifugal: he goes to work (it’s never made clear what he does for a living), and his job involves late hours a long drive from home—whereas Grace’s existence now revolves around the baby, and, amid these changes, her composure, perhaps even her sanity, dissolves.