Lenny is a divorced father who works as a projectionist at a Manhattan movie theater, and he has custody of his two sons, Sage and Frey, for a strict two-week window each year. The arrangement is loose and fluid, and Lenny leans into a more playful, carefree attitude with the boys, even as his own sense of responsibility slips away. He argues openly with adults around them—sometimes the school principal, sometimes a homeless veteran—yet he drags Sage and Frey into these conversations, turning everyday moments into odd, improvised games that blur the line between fun and chaos. Joining him in this cycle is his on-and-off girlfriend Leni, who shares in the irresponsibility and lends a shaky rhythm to their family life.
Early in the two weeks, Lenny’s household is touched by a small tragedy that foreshadows the fragility of their plans: Leni brings home a salamander as a gift for the boys, only to forget about it, and the creature perishes. The loss slides into the background of their erratic routine, a quietly heavy note in a week that is otherwise full of impulsive decisions and impulsive car rides through the city.
On the first weekend, Lenny goes out drinking and finds romance with a girl named Roberta. When he learns she will travel upstate with her boyfriend the next morning, he impulsively decides to tag along, insisting that Sage and Frey come with them. The trip turns into a reckless detour that threads through a series of impulsive choices, each one widening the gulf between Lenny’s intentions and the consequences at home. Back in the city, the household is disrupted further when Salvie, a European friend who speaks in a way that’s hard to parse, becomes part of their orbit and introduces a dangerous game in which he stands on the boys’ stomachs, a stunt that unsettles everyone watching.
A chaotic scheduling glitch at Lenny’s job complicates everything. He was supposed to pick the boys up from school, but an misread timetable puts him on a different shift. To fix things, he manipulates a film reel and then sprints to the school, ultimately keeping Sage and Frey at the theater with him. There, the kids channel their frustration and energy into a comic they print together—an irreverent piece about Lenny peeing in his boss’s water cup, printed in a whopping 999 copies.
Seeking a little adulthood-free companionship, Lenny hires his neighbor Jake to watch the kids for a night so he can go on a date with Leni. The date goes awry when Leni decides to walk along subway rails, and Lenny refuses to join her, choosing instead to stay tied to the children’s needs and the oddities of their day. In the meantime, Sage and Frey take aim at Jake with mischief of their own—an impulsive act involving a toy firetruck that has been tampered with to squirt pee. Jake, overwhelmed, tells Lenny that he won’t watch the kids again, a threat that hangs in the air as Leni returns just as Lenny’s boss calls about an overnight shift, threatening to fire him after the printer incident.
Desperation drives Lenny to an extreme measure: he gives the boys small doses of sleeping pills to ensure they stay unconscious for two days. This decision propels the rest of the narrative into a tense, uneasy space. While Sage and Frey sleep, Lenny isolates himself from the apartment, seeking refuge at Leni’s place. A nosy neighbor eventually discovers a spare key left behind, and Leni cuts contact with him, severing one tenuous tether to the life they’ve built. Lenny’s social circle reacts with a mix of fear and anger, and when he later joins friends, his recklessness spills over into a public act—he spray-paints a wall in a way that lands him and his friends in jail.
When Sage and Frey finally wake, the pair are brought to a park and then to a museum where they encounter a large-scale model of a mosquito. Lenny jokes that he once killed a giant mosquito in his apartment, a remark that lingers in the air and fuels the children’s fears about the insect’s imagined presence. The idea of the giant mosquito festers in their minds, leaving them unable to sleep and unsettled by the memory of the museum visit.
After the boys return to their mother’s custody, Lenny finds himself alone and increasingly discontent. He erupts with public temper tantrums among his friends, and the absence of Leni’s steady presence sharpens the sense of instability. A surreal nightmare about the giant mosquito unsettles him further, and he makes a radical, last-ditch decision: he abducts Sage and Frey from school, convincing their nanny that there was a scheduling mix-up. The kitchen becomes a stage for manipulation and confusion as he tries to orchestrate a move that remains shrouded in uncertainty.
Back at home, Lenny prepares a simple shopping trip for the boys, sending them to the grocery store with a list while he handles the cooking. When they return, the apartment is nearly empty—the furniture has vanished, and Lenny reveals that they are moving. The reasons for the move are left unclear, while the movers’ frustration crescendos into a harsh insistence that they be left behind on the street. In a final, disorienting gesture, Lenny and the boys gather their belongings and wheel them onto a Roosevelt Island tram, carrying their life’s possessions into a future that remains uncertain and fraught with unanswered questions.
Throughout this turbulent two-week period, Lenny’s intentions are clear in his desire to connect with his sons and maintain a sense of spontaneity, but the execution is uneven at best. The result is a portrait of a father whose love for his children sits alongside stubborn impulsivity, imperfect judgment, and a stubborn insistence on living in the moment—even as the consequences ripple outward, reshaping the family’s dynamics and leaving Sage and Frey to navigate the aftermath.
