“The Friend” wisely avoids the typical pooch movie tropes

Filmmaking duo Scott McGehee and David Siegel adapt the 2018 novel “The Friend” from author Sigrid Nunez for their latest directorial effort. The directors also pen the film’s screenplay, which is distributed from Bleecker Street.

As an individual with no fondness for dogs, I approached “The Friend” skeptically. My doubts stemmed from the prevalent trope in which a person develops an unexpected and profound connection with their pet, a narrative arc that has become overly familiar.

Typically, films resort to standard emotional triggers and endearing canine imagery, resulting in predictable tear-jerking experiences. However, “The Friend” successfully transcends these genre clichés, presenting a far more nuanced and rewarding narrative than merely depicting a woman’s life named Iris (portrayed by Naomi Watts) following her encounter with a dog.

Bill Murray portrays Iris’ departed mentor and former pal with understated strength and his usual charm in a brief role. At the same time, Naomi Watts portrays Iris, whose life shifts when she inherits Apollo, her mentor’s massive Great Dane, after he passes away. The film deliberately avoids romanticizing Iris’s inheritance by presenting Apollo as a gigantic destructive force in mourning rather than a lovable dog. Iris’s life of careful control faces disruption.

Filmmakers Scott McGehee and David Siegel deliver a nuanced, unsentimental approach to storytelling. They allow the characters’ frustration and absurd situations to unfold without forcing them into an immediate dog-love resolution. The film avoids using overly sentimental montages of Iris and Apollo playing together in the park or exchanging meaningful looks. Their relationship forms because of necessity, shared frustration, and Iris’s gradual change in perspective.

The film maintains its authenticity by avoiding excessive sentimental drama. The themes of grief and self-discovery resonate powerfully throughout the film yet remain carefully contained to avoid being manipulative. Watts delivers a nuanced performance by portraying Iris not as a cynical, career-focused individual seeking emotional awakening but as someone whose reluctance to change makes perfect sense. Apollo represents a mirror that reveals her unresolved grief and creative stagnation rather than serving as a magical remedy for her emotional wounds.

“The Friend” serves as a sentimental tribute to the life-changing effects of dog ownership. The film presents an insightful exploration of loss and legacy while maintaining unpredictability through its canine elements. 

Final Grade: B

“The Friend” is in theaters now.