Annie Baker’s first film is a slow burn. Much of the action unfolds patiently, in real time, whether it’s a child running down a hill or her blintz warming in a microwave. But its long takes also cut abruptly, interrupting the feeling they’ve built: Baker’s scenes, slyly cued to Rainer Maria Rilke’s Fourth Duino Elegy, “while wholly concentrating on one thing,/already feel the pressure of another.” One character reads a passage from the poem to the woman he is courting.