A slow-burning chamber piece tracing the steady drift of two couples, Golden Exits finds Perry working in a lower key to fathom the disappointments of friendship and the perils of believing in unspoken promises. Beastie Boys’ Adam Horovitz is revelatory as Nick, a frustrated archivist channeling his unspoken angst into his work on his late father-in-law’s papers when interrupted by the arrival of a wide-eyed and beautiful Australian intern who comes to work with him for the summer. Chloe Sevigny brings a world-weariness and creeping misanthropy to her role as Nick’s wife—tellingly, a psychologist—cursed with the ability to read the larger patterns of bad habits. Rounding out the cast are Jason Schwartzman as a music producer secretly searching for a new direction, and an electric Mary-Louise Parker as Nick’s overbearing and harshly judgmental sister-in-law whose pronouncements are as cruel as they are correct. The late summer glow of Williams’ gorgeous close-ups and camerawork gently counterpoint the simmering resentment and miscommunication that pull these talented but deeply self-absorbed professionals into stylish traps of their own making. Golden Exits may echo the musical symmetries of Rohmer, but it also injects an assertive dissonance. With its sympathetic but hard questioning of neo-Yuppiedom defined by the artistic/artisanal class, Golden Exits reveals Perry as a wise but bracing antidote to the cloy whimsy and hipsterism that typically imbues contemporary indie films set in Brooklyn.