‘Horse Girl’: Film Review

A funny thing happens about a third of the way into “Horse Girl,” Jeff Baena’s fourth Sundance feature after “Life After Beth,” “Joshy” and “The Little Hours.” Or rather, a funny thing stops happening: the familiar, steady-heartbeat rhythms of the low-budget social awkwardness comedy become erratic, tachycardiac, as the initially endearing foibles of the film’s heroine, Sarah (a revelatory Alison Brie), are found to have deeper roots and more painful ramifications than feels right to laugh at.

It’s the point at which we realize that “Horse Girl” is not your classic, hackneyed Sundance indie and is instead a far weirder, harder and sadder subversion of just that stereotype.

It’s the point at which the movie stops being cute, and starts being good.The setup is such a convincing red herring though, that for a while it functions just fine as your standard offbeat dramedy, laden with

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