One reality is made to spill into another, and some of the loveliest developments — the humanizing of a disgruntled baker (Lyle Lovett) who we've encountered mainly as the disembodied telephone voice of a crank caller, and a mix - up of snapshots between two clusters of characters at a Fotomat — can be described as exercises in dialectical relativity that come about when
separate fictional worlds in the movie are briefly made to converge.
Cath struggles to find the balance between devoting her attention to the real
world — her family, college classes, living on her own (and
separate from her party - girl twin sister, Wren), an unexpected romance and finding that elusive campus cafeteria — and disappearing into the comforting,
fictional world of her own stories.