The Friend keeps its distance from maudlin or overly cutesy theatrics, à la A Dog’s Purpose, Marley & Me, or Hachi: A Dog’s Tale. Even so, directors Scott McGehee and David Siegel still tug on your heartstrings in their adaptation of Sigrid Nunez's novel. While the film explores grief and the steadfast devotion of four-legged friends, The Friend has a sharper wit and a metropolitan je ne sais quoi. Like New York City itself, the emotions are complicated and the characters are messy.
Naomi Watts always delivers performances of understated intensity, and she does so yet again in The Friend as Iris, a professor and author dealing with writer's block. After her friend (and ex) Walter, played by the droll Bill Murray, takes his own life, she inherits his giant Great Dane, Apollo. In flashback scenes, Bill Murray tinges his trademark sarcasm with an ever-so-subtle melancholy. The dog is played by the adorable Bing, whose droopy eyes are soulfully expressive in close-ups, and his oversized body seems to take up Iris' entire apartment.
Much of the film is made up of gentle, wholesome humor—especially for animal lovers—as Apollo adjusts to his new home. Iris must get used to all of his little quirks, like his initial refusal to eat, taking up her entire bed, or trashing her apartment when he’s lonely. Caring for such a mammoth pup is no easy task, especially when Iris is a busy working woman and her building doesn’t allow dogs. Yet Iris is steadfast in her refusal to abandon Apollo, even in the most challenging of circumstances, because he’s the last living link to her dear friend. It’s almost as if she can still see Walter in him. The film touchingly captures the connections we share with our pets and the people we love.
But The Friend doesn’t solely rely on playful man-versus-dog hijinks. It also probes deeper questions about the pressures and inherent narcissism of academia and, more poignantly, our tangled feelings when someone we love who passes away is problematic. As the film unfolds, we learn that Walter was often romantically involved with his younger students. Apollo’s uniqueness and eccentric behaviors serve as a lighthearted framework for a larger meditation on mourning that anyone who has experienced loss can deeply relate to.
Why should public libraries add this grief drama film to their collections?
The Friend is an emotionally rich, character-driven drama that appeals to fans of literary adaptations, pet lovers, and viewers seeking contemplative films about grief and connection. Based on the National Book Award–winning novel by Sigrid Nunez, the film offers a more nuanced alternative to typical dog-centric movies. Public libraries curating collections on mental health, animal companionship, literary cinema, or women-led dramas will find The Friend to be a welcome addition—particularly for adult readers and film clubs exploring themes of loss, loyalty, and healing.
What academic courses or book clubs could use this drama film about grief?
This film is ideal for literature and film studies classes focusing on adaptation, grief narratives, or contemporary American fiction. Book clubs that have read The Friend by Sigrid Nunez can use the film as a companion piece for discussion, especially around topics like how pets function as emotional surrogates and how the visual medium handles introspection. It’s also relevant for psychology or social work courses exploring themes of grief, trauma recovery, and human-animal bonds.
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