Linda Holmes

There are several moments where she kind of draws lines and you can understand her saying, you can do this up to this point.

But if you do this, I'm going to leave.

Because it's not immediately obvious at the beginning.

Mm-hmm.

It seems like it's more he really wants company but he has trouble acknowledging that he wants company.

So she shows up and he's kind of testing whether he can get her to stay and be company.

I don't know.

I think that opening section where it seems like he's just trying to kind of push her out the door but he doesn't really want her to leave.

I found that fascinating.

Yeah.

One of the other things I noticed is that when you see Lori in the house, a lot of the time, the way that she is dressed, the fabrics and the colors are very in harmony with the house.

She seems to belong there.

There's a scene in particular when she's going up to try to figure out where the Christophers are and get a look at them and everything.

And you really can notice that she, at least at particular points in the story, is

the look of this very warm, especially up in that attic where these canvases are, the sunlight's very, very warm.

Everything is kind of these rich browns and oranges and creamy colors.

And there is one scene, if you watch for it, the way she's dressed is sort of meant to, I think, it conveys that she fits into this

Like because of the commonality that there – I mean to me it makes sense because it's sort of a very artisty kind of place whether you're him or whether you're her.

The other thing I really appreciated about this is that if you're going to make a movie about art, right, especially a movie that has an art forger in it.

You sort of wonder, am I going to get a lot of heavy-handed stuff about forgery and art and theft and fraud and all that stuff?