Director Mark Pellington and screenwriter Alex Ross Perry collaborate on a story that digs provocatively into what physical objects we ascribe value to, and why. The narrative winds through a few different principal characters as they wrestle with the subject: an insurance agent (John Ortiz) whose job is putting a price on objects; a widow (Ellen Burstyn) who has lost her home and most of her possessions in a fire; and a sports memorabilia dealer (Jon Hamm) helping his sister (Catherine Keener) dispose of the contents of their retired parents’ home. The story drifts occasionally into reverie—including Burstyn’s narration playing over images of her trip to Las Vegas like outtakes from late-period Malick—and makes unfortunate use of one of my least favorite tropes (the Post-Trauma Purgative Fetal Position Shower). The performances, however, are uniformly solid, helping Perry explore the complicated reasons people remain attached to the things in their lives, and even the generational shifts that can make some of those things more precious and rare. Surprisingly powerful emotion emerges when pondering what connects us to people and places no longer with us. By Scott Renshaw