Bill is shackled by the past as a recently released paedophile, unable to bring himself to reconnect with the family whose lives he shattered.

Trish finds much needed solace in a new relationship and is on the brink of marrying the affable and non-dysfunctional Harvey, but the guilt she feels at the effect this will have on her children drives a wedge between them.

Son Timmy is racked by guilt that he was somehow responsible for the departure of his father and for inadvertently sabotaging his mother’s new relationship.

The inappropriately named Joy masochistically torments herself throughout the film, blaming herself for the lack of success of her past and present relationships, taking on the faults of her men as her own, and wearing them like stigmata.

It is the inability to forgive themselves and others which makes each character so miserable, and prevents them from ever attaining a state of Happiness, which is precisely what makes it such a worthy companian piece to the preceding film.

The neurotic Christian obsession with the concept of forgiveness is shown here in all its tawdriness, with each protagonist finding themselves stuck in limbo’s remorseless rut, showing that when life throws intractable situations at us, sometimes it’s far better to forget than to forgive, in order to enable ourselves to move on to a better place.