Something of a “shift film” (apologies to Park Lanes): it begins with an opening credit sequence laid over shots of Texas highways (a commute), then charts the workday at an independently operated faux-Hooters restaurant from open until close (followed by a coda). That opening preps you for the graceful whiplashes of Bujalski’s cinema—the titles play over upbeat country pop until the film smash-cuts to a person in a parking lot crying helplessly in their car. That is Lisa (Regina Hall),…