The Law of Enclosures
The Law of Enclosures

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- 61/100 based on 274 votes

Set in Sarnia, Ontario in 1991, teenage Beatrice is a cashier at a supermarket. One night while waiting in line at a drugstore, she notices a large lump on the back of the bald head of a boy her own age. Intrigued, she follows him and he eventually and reluctantly introduces himself as Henry, explaining the lump is a malignant tumor causing his rare form of cancer. They fall in love, their passion intensified by Henry's impending surgery and the strong possibility of his deat... (Full plot summary below)

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Actors in The Law of Enclosures:

Sarah Polley
Brendan Fletcher
Sean McCann
Diane Ladd
Shirley Douglas
Tracey McCorrister

Full Plot Details

Set in Sarnia, Ontario in 1991, teenage Beatrice is a cashier at a supermarket. One night while waiting in line at a drugstore, she notices a large lump on the back of the bald head of a boy her own age. Intrigued, she follows him and he eventually and reluctantly introduces himself as Henry, explaining the lump is a malignant tumor causing his rare form of cancer. They fall in love, their passion intensified by Henry's impending surgery and the strong possibility of his death. Meanwhile, Bea and Hank have been married for 40 years with two adult children and live for the sole purpose of hurting each other. Their love burned out long ago; they're bored, bitter, depressed, and argue constantly. With nothing left but routine and resentment, Hank decides to buy a retirement home without consulting Bea, and she gets back at him by incurring financially ruinous construction and decorating expenses. Both couples are one and the same, at the beginning and end of their relationship, simultaneously existing in the same time period as if the 40 intervening years never happened and they've been stuck in time.

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User Review - 4/10 by Private Umidly depressing story of some midly depressing people
User Review - 2/10 by David HA stunning disappointment, especially after the unbelievable triumph of Greyson's prior Lilies. It seems that for this film, Greyson unleashed his inner pretentious art filmmaker, and the results are as boring and, well, PRETENTIOUS as expected. A film about love and relationships has the potential for beautiful minimalism and simplicity. Unfortunately, Greyson piles on the metaphors with reckless abandon. For one, he attempts to draw pointless parallels between relationships and the first Gulf War. The analogy doesn't at all enhance our understanding of the natures of love and relationships beyond what the characters and screenplay already make clear, which makes for quite the pointless parallel. Love is war. Right, tell me something I didn't already know. Oh, throw in a silly deer as a metaphor for... well, something. Again, it doesn't tell us anything beyond the explicit level of the main plotline. So yeah, it's pointless and PRETENTIOUS!!!! Dialogue is stunningly banal, with a lot of cheesy "I want you inside me" lines. Acting aside from the always-capable Brendan Fletcher is mediocre at best and downright lethargic at worst. Sarah Polley, naturally, is God-awful. Also a surprise is the blandness of Greyson's direction. Aside from the final shot, there is nothing particularly striking here visually, which, again, makes for a pretty boring experience for the eye. There ARE some shots which scream "I'M DIRECTING," but even those are too few and far between to wake spectators up. Music is intrusive, and it sounds quite similar to nails on a chalkboard. Overall, one of the best parts of this tremendous misfires is the closing credits. And I'm pretty sure I don't have to explain why.

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