Boys and Girls

The father, a fox farmer, begins the yearly cycle as autumn arrives. He selects foxes with good fur, kills them, skins them, and passes the pelts to the company. The operation marks the start of a harsh routine that drives the family's livelihood.

In winter, the family preserves two horses to be used by the fox operation. Both are kept alive until the trade requires them. The cruel cycle tightens as animals are sacrificed to sustain the fox business.

The girl and her brother watch their father shoot Mike, the old horse, out of curiosity and concern. They notice him readying a cigarette, a small ritual before the act. The moment becomes a turning point in their view of their father's world.

After witnessing the shooting, the girl feels embarrassed and guarded, anxious about how Laird will react. She fears the violence surrounding their daily life may shape his future too. The incident reshapes their sense of safety within the family.

The girl tries to avoid her grandmother and adopt a more ladylike demeanor to cope with her harsh environment. This behavior reflects a coping mechanism to fit the expectations surrounding her father’s world. The tension between generations grows subtly.

The siblings watch as fur is removed from foxes, leaving naked, slippery bodies. The remains are gathered into a bag and buried in rubbish, a grim routine they are forced to witness. The scene underscores the cruelty embedded in the family’s livelihood.

The film describes a high fence and a locked gate that trap the foxes in a medieval-like world. The enclosure becomes a daily boundary that shapes how the children move and interact with the animals. The setting itself feels like a character in the story.

Towards the end, Flora the mare emerges from the barn, and a tense moment follows as the door remains a potential exit. The girl makes a split-second decision not to close the door, allowing the possibility of escape. The brother watches, sensing the fragile line between control and freedom.

Flora slips toward the plant area as the door remains effectively open. The escape heightens the family’s tension and signals a crack in the father’s dominance over the animals. The moment foreshadows a break in the rigid routine surrounding them.

After Flora’s near escape and the movement of the truck, the father returns to the mare, illustrating his stubborn attachment to the animals and the routine. The scene shows that the cycle persists despite the risk of losing control. The dynamic between caretaker and captive animal remains intact.

That night, Laird accuses his sister of deliberately opening the door. The father interrogates them with disappointment, pressing for a confession. The emotional strain is palpable as the family sits in silence after the accusation.

The girl tearfully confesses that she opened the door, but she cannot fully explain why. The father responds with a harsh remark, suggesting that her gender matters less than obedience by saying, 'It's just a girl.' The moment seals the emotional distance within the family.