The Friend Review: Naomi Watts Effectively Captures Grief with a commendable Performance

      Note: This review was initially published as part of our coverage for the 2024 New York Film Festival. The Friend is set to hit theaters on March 28, courtesy of Bleecker Street.

      The latest creation from independent filmmakers Scott McGehee and David Siegel, The Friend, marks a continuation of their three-decade-long collaboration and centers around a dog. More precisely, it tells the story of a dog and Iris (Naomi Watts), a woman with a strong dislike for dogs. Following the death of her friend, mentor, and lover Walter (Bill Murray), she inherits a Great Dane named Apollo. Adapted from Sigrid Nunez’s National Book Award-winning novel of the same title, the film manages a light touch even while exploring themes of grief, suicide, and depression. It's the kind of film my parents would enjoy—ideal for a Sunday afternoon on a cable channel, easy to watch yet substantial enough to evoke a sense of sadness. This is indeed a compliment: The Friend highlights the significant role that dogs and pets hold in our lives.

      The film's effectiveness hinges on the presence of Apollo, the imposing dog who is actually named Bing. Siegel and McGehee frequently rely on the Great Dane, whose large, mournful eyes reflect the loss of his owner. His existence takes up space in Iris’s life, serving as both a challenge and a means for her to move forward. This performance is among the best dog portrayals of the last decade, largely due to Bing's size and his ability to remain still, allowing viewers to project their feelings onto him. This is precisely what pets often provide us—a vessel for our emotions and companions who support us in our darkest times while sharing in our victories.

      The narrative is sentimental and filled with familiar clichés commonly seen in films about grief. Initially, Iris has an aversion to Apollo but gradually comes to accept him, much like he does with her. As a writer, she collaborates with Walter’s daughter on a book of his letters, reflecting on their complicated relationship. At one point, she even converses with Walter’s ghost. The only significant conflict arises from her apartment building's no-pets policy, a dilemma that resolves conveniently. The movie does not aim to break new ground; rather, it immerses the audience in a story with recognizable themes, yet it remains purposeful.

      Naomi Watts delivers a solid performance alongside Bing the Great Dane, relishing the opportunity to roam New York with him. The supporting characters have less impactful moments, with the ex-wives featuring more prominently than necessary. Walter’s past misbehavior as a professor is briefly acknowledged and quickly sidelined, as Bill Murray appears intermittently, charming viewers into overlooking his character’s more intricate personal life. However, when the film focuses on Watts and Bing—a woman and her new dog—it truly shines. Their shared silences convey a deep bond, reflecting the heartache of their mutual loss. Both cherished Walter, despite his flaws. Alone, they experience pain, but together, they can grieve and honor his memory.

      The presence of dogs and pets is not a trivial addition. Their role doesn’t diminish the film's maturity or significance; instead, they are central to The Friend’s essence. Siegel and McGehee try to portray the chaos of New York and the impact of a friend’s passing. Ultimately, they reveal the depth of the connection formed between a dog and the new person responsible for caring for him.

      Having owned a dog I adored throughout my childhood—who accompanied me through both frightening and thrilling experiences—I found it challenging to remain detached from the film. One’s stance on pets will likely influence their perception of this story. Personally, my fondness for dogs made The Friend a rewarding experience.

      The Friend was screened at the 2024 New York Film Festival and is set for release by Bleecker Street on March 28.