The film tracks a mother Bonnie Bedelia as she watches her son Liam Aiken prepare to leave for college, her heart stretched between pride and a growing ache of separation. In her daydreams, the moment he pulls away in the car becomes a memory of transition and longing. She envisions him as an outstanding student, a standout member of his school's debate team, and in that imagined future, he meets a girl who falls for him in return. The fantasy blossoms into a sequence where, after graduation, he musters the nerve to propose to the girl, a milestone that feels both joyful and bittersweet to the mother. She also pictures herself tending a bright, colorful garden, savoring small triumphs in the soil, and in a quiet, almost childlike moment, discovering a superhero figure her son used to play with, a small emblem of strength that reminds her how deeply she will miss him. As the daydream fades, the film returns to the present: the son finishes packing his boxes, and the ordinary rhythm of departure resumes.
To keep him from leaving too soon, the mother weaponizes the act of nourishment, slipping a substance she calls the "Feel-Bad Sickness Prompter" into his foods. The boy eats without obvious trouble, but that very night he falls gravely ill. The illness arrives with alarming speed, waking him and his mother in a panic of cramps and anxiety. A doctor is summoned, but the source of the malady remains elusive, defying easy explanation or diagnosis. In a desperate bid to save him, the mother concocts a countermeasure, adding a so‑called "Feel-Good Again Miracle Antidote" to his soup. Yet the boy cannot bring himself to eat it, further complicating an already perilous situation. The physician returns, and the boy’s condition deteriorates; his body is wracked by horrific spasms, and the mother’s tears flow freely as she clings to him. He tries to reassure her in a final, trembling moment before he suddenly collapses and dies.
At the boy’s funeral, the mother chases after his casket in a ritual echo of the earlier, imagined pursuit of his departing car, a haunting symmetry that folds the dream into the grief of the present. The film closes on a stark, somber image: the mother’s garden, once bright and full of life in her visions, now withered and dead, with the superhero figure standing sentinel at its center, a haunting reminder of the dream that could never come to pass.
