Butter on the Latch is a 2013 experimental psychological thriller/drama film written, produced, and directed by Josephine Decker.

The friend tells her that she's woken up in an unfamiliar place with strange people, and she doesn't remember how she got there.

On the way back to their cabin, Sarah asks Isolde if she's alright, and how she managed to get out of that strange house she'd awoken in.

Most of the acting was improvised, which proved difficult to keep in focus with the shallow depth of field of their DSLR camera, but Connor decided to use the blurriness of the shots intentionally to help tell the story.

Club praised the film, stating "The different techniques Decker uses—the improvised dialogue that feels like listening to one side of a phone conversation, the woozy cinematography and sound design, the disorienting editing—create a sense of claustrophobia.

"[12] Nicolas Rapold of The New York Times opined that "Butter on the Latch thrives on its casually true snapshots of confusion and connection.

"[13] Eric Kohn of Indiewire also praised the film, commenting that Decker "...never tries to impose a conventional narrative structure on the proceedings, and the ambiguities develop their own bizarrely compelling rhythm" and that her career is "one to keep an eye on.

"[14] Peter Debruge of Variety noted that "... Decker has fashioned the kind of feature debut the film industry simply doesn’t support, but would do well to encourage: a visually poetic, virtually free-form groove in which emotion, rather than narrative, guides viewers through a young woman’s visit to a Balkan folk music camp.

It’s clear that her blender-style editing technique and oblique approach to narrative, along with Connor’s blurry, randomly framed cinematography, are artistically motivated decisions which they have every right to make.

But slapped altogether like this, the film just looks a mess, apart from some of the rather pretty shots of banana slugs and redwoods.

[17] Decker's other 2014 film, Thou Wast Mild and Lovely, also made Brody's top ten, coming in second place to Wes Anderson's The Grand Budapest Hotel.