Drool 2009

Anora Fleece once dreamed of a fairy-tale marriage with Cheb, but reality proved harsher and she clung to daydreams as a quiet refuge. Cheb grows sullen, abusive, and controlling, casting a shadow over the home where their two children, Tabby and Little Pete, start to mirror his mood and aggression. The tension inside the house tightens like a knot, and even the warmth of family meals can feel brittle and precarious.

When Anora meets her new neighbor, Imogene Cochran, a bright and bubbly presence, a door opens to a different outlook on life. Yet the encounter quickly sours on the surface as Little Pete reacts with hostility, and Anora must confront a painful truth: he uses a racist slur to judge Imogene’s presence in their home. The moment explodes into a confrontation at supper, and Cheb’s temper erupts into violence when a beer bottle shatters and a dangerous threat hangs in the air. Anora is torn between backing away from Imogene and daring to pursue a connection that feels real and hopeful.

As the two women grow closer, Tabby’s life takes on its own turbulent arc. She forms a troubling, intimate bond with a teenager named Denny, and she is swept up in a collision of affection, rebellion, and social judgment. Tabby’s blossoming interest in Denny collides with her best friend Princess’s warnings and the broader judgments of those around her, driving her toward a reckless, angry stance. The strain of secrets and betrayals gnaws at the family, and Pete—who skews toward fantasy and danger in his own way—begins to drift as well, clashing with Tabby’s choices on school and loyalty.

At work and at home, Cheb’s grip tightens. A bleak routine at a factory is punctuated by subtle pressures that hint he may be expected to perform fearsome favors to keep his position, a detail that underscores the power imbalance in the household. When Cheb discovers Anora and Imogene kissing, the tension erupts in a violent encounter that culminates in a gun being drawn. In the ensuing struggle, Little Pete is fatally shot, a moment that shatters what little stability remains. Anora, driven by fear and desperation, shoots Cheb multiple times, ending his reign of fear as Imogene and Tabby watch in horror and disbelief.

The aftermath propels the family into a new, desperate road trip. They leave town with Cheb’s body in the trunk, seeking anonymity and space to figure out what comes next. Tabby’s defiance grows sharper, and she clings to her father’s memory in ways that complicate her relationship with her mother and with Imogene. A stop at a park and a later encounter at Kathy K’s place—a neighbor with a yard full of graves and an unsettling hospitality—pulls the family into a surreal, almost macabre, social circle. Tabby and Pete observe disturbing scenes and must face complex questions about love, loyalty, and the limits of family acceptance.

Kathy K’s house becomes a chaotic crossroads where truths surface and old wounds reopen. Tabby and Pete are confronted with troubling glimpses of adult life—two of Kathy K’s workers kissing, the sight of Cheb’s corpse, and the shadow of judgment that lingers over every interaction. Anora and Imogene explore a tentative, deeply felt connection, but their moment together is interrupted by Tabby and Pete, who bring their own turmoil into the room. Tabby voices a fierce mix of anger and fear, calling the situation “totally fucked up,” while a harsh moment reveals the depth of her feelings about Imogene’s presence in their lives.

The film continues to peel back layers of abuse, responsibility, and survival. Tabby discovers painful memories of an occasion when Cheb’s rough behavior exposed her to danger in front of him, and he laughed off the moment rather than protecting her. The three of them—Anora, Tabby, and Pete—begin to articulate what they’ve endured and what they want for the future, even as their paths diverge in painful ways.

A seaside escape becomes a reluctant moment of beauty and connection. The group returns to Kathy K’s home to rejoice in a shared moment of play and innocence as Tabby and Pete laugh, swim, and reclaim some sense of peace. The adults, watching from the water’s edge, silently acknowledge the fragile happiness that remains. They come to terms, in their own imperfect ways, with the idea that life can offer tenderness even after trauma.

In the closing scenes, the bond between Anora and Imogene strengthens into something more fully realized, a quiet affirmation of love that stands in contrast to the earlier violence and chaos. Tabby, meanwhile, keeps a diary—a ledger of memories, missteps, and small, stubborn hopes for what the future might hold. In a final, intimate moment, she writes a message to Gully (a symbol within her diary), confessing that a life once constrained by fear has begun to loosen its grip. Her closing words echo a bittersweet truth: without Cheb’s presence, the family could still find a way to live, even if the path is imperfect and fraught with pain and resilience.

Throughout, the film balances stark, uncomfortable truths with moments of warmth and resilience. It presents a portrait of a family trying to survive a cascade of harm and misunderstanding, seeking redemption, belonging, and the possibility of a future where love can heal old wounds—where Anora and Imogene can finally be together, and where Tabby and Pete grapple with the consequences of their experiences while holding onto a glimmer of hope for a healthier, more honest life ahead.