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We Don't Live Here Anymore (2004)

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An indiscretion between two close friends tears down their respective marriages.

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(short stories "We Don't Live Here Anymore" and "Adultery"), (screenplay)
2 wins & 4 nominations. See more awards »

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Cast

Complete credited cast:
...
...
...
...
Sam Charles ...
Sean Linden
Ginger Broatch ...
Natasha Linden (as Haili Page)
Jennifer Bishop ...
Jennifer Mawhinney ...
Audrey
...
Lauren
Meg Roe ...
Lollipop Girl
...
Marc Baur ...
Plumber
Patrick Earley ...
Jim
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Storyline

The movie is set in the Pacific Northwest; specifically, Washington state. We know this from a glimpse of a license plate, the craftsman architecture of the two houses, and the mature, rich landscapes in between. The setting, like the scrutiny of the four main character's lives, is defined by the narrowness of the camera's field-of view. The one commercial street in town is only seen in the reflection of a store window, a shot of a non-descript auto-yard, or the tunnel of a tree-lined suburban sidewalk. The lush, wooded landscape is understood as an immediate presence in the domestic and professional lives of the characters; a steep hill, railroad tracks, a rushing stream, and a path over an old steel bridge are revisited again and again by the characters in their capacities as lovers, parents and friends. Written by Chester Weir

Plot Summary | Add Synopsis

Taglines:

Ordinary lives. Extraordinary emotions. See more »

Genres:

Drama | Romance

Motion Picture Rating (MPAA)

Rated R for sexual content and language | See all certifications »

Parents Guide:

 »
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Details

Country:

|

Language:

Release Date:

3 September 2004 (USA)  »

Also Known As:

Adultery  »

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Box Office

Budget:

$3,000,000 (estimated)

Opening Weekend USA:

$101,295, 15 August 2004, Limited Release

Gross USA:

$2,037,545, 24 October 2004
See more on IMDbPro »

Company Credits

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Technical Specs

Runtime:

Sound Mix:

| |

Color:

Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

The film's title is similar to that of "Alice Doesn't Live Here Anymore" (1974), which featured Dern in a bit part near the end and for which her mother, Diane Ladd, won the first of three Best Supporting Actress Oscar nominations. See more »

Quotes

Hank Evans: Go to school.
Sharon Evans: It's summer. I don't have to. You go to school.
Hank Evans: It's Saturday. I don't have to.
See more »

Crazy Credits

Special Thanks To Christine & Ben Christine, Terry & Kelly Kris & Fisher See more »

Connections

Featured in The 20th IFP Independent Spirit Awards (2005) See more »

Soundtracks

If It's Over
Written by Dale Watson
Performed by Dale Watson
Courtesy of Bug
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User Reviews

A Grown-Up Look at Grown-Up Couples
6 September 2004 | by See all my reviews

"We Don't Live Here Anymore" is a sophisticated examination of the complexities of the difficult relationship that is contemporary marriage and family.

As it takes us awhile in the beginning to figure out who is attached in what couple, Mark Ruffalo, Laura Dern, Peter Krause and Naomi Watts superbly act a matched quartet of grown-up friends whose restlessness and frustrations with their personal and professional lives are gradually torn to shreds by propinquity and alcohol (and perhaps by community college teachers having too flexible schedules and temptations). The suspense comes in the revelation of the layers that get peeled off each and we wonder just how far each will go.

Each actor finds a unique response to their character's emotional situation and the production design well illustrates their individuality (though once again in a film I got fooled that I was supposed to think ill of a character like Dern's whose comfortable house is evidently a mess when it looks like mine, while I thought Watts' house was really cold in its spotlessness while gradually I realized I was supposed to think she was more together, but heck she had one less kid).

While I haven't read yet the two Andre Dubos short stories that Larry Gross adapted for the screenplay, Ruffalo's voice-over is used inconsistently as an occasional crutch to reveal inner thoughts probably to help bolster the denouement; otherwise the camera angles try to convey their thoughts, but that manipulates the audience a bit as to whom to root for.

Maryse Alberti's cinematography richly conveys summer passing in a beautiful yet claustrophobic college town.

The song selections are not particularly revelatory, but the music is effective at mood-setting.


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