A big seller at the Sundance Film Festival, The Invite is a comedy that explores what happens when a couple invites another couple over for an innocent dinner, and the conversation turns into a “real” get-to-know-you night.

We’ve all been there, where we’ve had a long day, and all we want to do is relax. Unfortunately for Joe (Seth Rogen), his wife Angela (Olivia Wilde) has set a dinner date with their upstairs neighbors. There are a lot of issues with getting this dinner going because not only has Joe completely forgotten about it, but he also didn’t pick up any wine. How do you have a get-to-know-you dinner without offering any alcohol? This, of course, starts an argument between the two. Joe would really like to cancel, while Angela just wants to get it over with because the two couples have been discussing getting together for a while now.

During their argument, there’s a knock on the door, and their dinner guests have arrived: Hawk (Ed Norton) and Pina (Penélope Cruz). They admit they happened to eavesdrop on the fight, and as the two couples awkwardly banter, the dinner only gets more uncomfortable because everything Angela has prepared, Pina can’t eat. This causes Joe to go smoke a joint in his office, and Pina decides to join him, which also leaves Hawk and Angela alone in the other room. As the two pairs separately get to mingling, a certain flirtation begins to develop between them.

“I’ll never look at a dinner invite the same way again.”

After things have settled down, the couples convene back in the living room, and Pina and Hawk apologize for the sexual noises coming from their apartment. Initially, Joe and Angela play coy, claiming they haven’t noticed. When Pina keeps going, the conversation opens up to the specific proclivities she and Hawk share, which leads to initial surprise, then curiosity, and finally arousal from both Angela and Joe. The dynamic of their dinner invite has now changed, and perhaps there’s something else to be explored.

The film, written by Will McCormack and Rashida Jones, I found, was adapted from the Spanish film The People Upstairs by Cesc Gay. I haven’t seen that version, but after watching this one, I absolutely want to compare the two. Essentially, at its core, this is a play: one location and four actors. Olivia Wilde, who directs, wisely chose this as a follow-up to her ambitious Don’t Worry Darling, which I hated. Going from Booksmart to that might have been too big of a leap, and she resets well with this smaller indie. If it weren’t for the hype surrounding the festival sale, Olivia Wilde as director may not have sold it for me.

One of the clever touches is the film’s score—or rather, its use of strings, whether it’s a violin, cello, or bass (I can’t quite distinguish which instrument). They act as an entirely separate character, much like the iconic themes from Jaws or Friday the 13th. Speaking of characters, I thought Penélope Cruz was spot-on casting as Pina. There’s no doubt that any man or woman on Earth would be flattered to receive even a teasing glance from her. If A24 gives the film an awards-season push, I wouldn’t be surprised to see her land in the Best Supporting Actress category.

I look forward to when the film finally releases, and the conversations audiences will have about it. I know I’ll never look at a dinner invite the same way again.