Best Narrative Feature Tribeca Film Fest
"Ghastly funny misanthropy...like watching a slow-motion car accident. As much as you may loathe the characters, you can't avert your eyes" -New York Times
"Anyone who has ever suffered a creative block of any kind or has lost months desperately searching for a missing fetish object or a missing inherently meaningless object will find both pleasure and terror in this precisely realized movie, and very likely will want to see it again and again, so perfectly does it capture the anxiety, terror, and, if you distance yourself, hilarity in this kind of self-sabotage" -Film Comment
"Compelling... [Will] Rogers delivers a perfectly calibrated performance as the slowly unraveling Paul; [Eleonore] Hendricks provides just the right touch of ambiguous menace as his adversary" -Hollywood Reporter
"Unlike many portraits of dissolving sanity, Nancy, Please offers a gradualand plausibleescalation of troubles" -TimeOut Chicago
Paul's life is good. He is a gifted graduate student at Yale, completing a PhD in English literature, and has finally moved in with his longtime girlfriend, Jen. A bright and promising future seems assured, but there is a snag in his plans. Paul has left an item of great importance at his old apartment: an annotated copy of Dickens' Little Dorrit, the subject of his dissertation, and he simply must have it back. Doing so will mean recovering it from his casually sinister and inexplicably vindictive former roommate, Nancy, who blithely thwarts Paul's increasingly frantic attempts at retrieval. His annoyance turns to rage and then to obsession, until his life begins to unravel. It soon becomes clear that things will get much, much worse before they get better.
First-time director Andrew Semans has made a smart psychodrama, effectively repurposing thriller and horror tropes in an understated exploration of the "perverse allure of victimhood". A wholly novel approach to familiar themes of quarter-life crisis, responsibility paralysis, and victim complex, Nancy, Please is an exciting debut and a reminder of the potential for utterly creative filmmaking to turn the simplest stories into the most original films.