Edward has even dedicated the writing to her. Susan is moved by the book and notices connections to their estranged past and contacts Edward in hopes of meeting, reconciling, and perhaps igniting a second chance, seeing the book as a kind of invitation to do so. The book tells of a fictional story about a man named Tony, his wife, and their daughter who run into some road rage on a deserted West Texas road, leading to the rape and murder of both women and the man relying on the help of a local, dying deputy to bring him justice. She receives a manuscript in the mail from her ex-husband Edward Sheffield ( Jake Gyllenhaal), a man she left 19 years ago, telling him he is weak and deceiving him about a pregnancy and abortion. READ MORE: Our review of Tom Ford’s Nocturnal Animals Even her face is a mask of contrasting tones. Susan lives in a world of false fronts, hyper sterile environments layered in cosmetic flare. She is married to her second husband, Hutton ( Armie Hammer), a man so disinterested in her, he almost seems to be begging her to notice his infidelities. Susan Morrow ( Amy Adams) is an art gallery owner that is struggling to keep it open, as modern works and performance pieces have stretched the boundaries of good taste and the meaning of the gallery. Be warned, what follows spoils the end so be sure to watch before moving on. The film centers are two parallel stories and both conclude in dark fashion, which leads to a number of questions about what it all means. While it’s split audiences and critics, it is nonetheless a stirring piece of art that challenges at every level, something few movies do these days.

There’s no getting around the fact that director Tom Ford‘s sophomore effort is a quizzical little gem that if anything, inspires conversation.

Nocturnal Animals is 2016 psychological drama about a woman in bad times who reads a book written by her ex-husband that appears to be more than what it seems.

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