In Nicole Holofcener’s sixth feature, adapted from Ted Thompson’s 2014 novel, a man’s midlife crisis is rendered with tragicomic sincerity
The women of writer-director Nicole Holofcener’s films have often been described as “dysfunctional” or “complicated”, the most rote of the catchwords used to suggest a kind of tough-as-nails realism. They are women, frequently single, sharp-tongued and exasperating, who evoke Henrik Ibsen’s groundbreaking Nordic anti-heroines, Nora Helmer and Hedda Gabler and Helene Alving, and the comic neuroses of Woody Allen, of whom Holofcener has been called the female counterpart. Like some, but not all, of Allen’s women – I’m thinking of Judy Davis in Husbands and Wives, Mia Farrow in The Purple Rose of Cairo and, of course, Diane Keaton in Annie Hall – Holofcener’s protagonists are flawed, wry, introspective and modern. They’re easy to love on-screen, if less so to the people they’re on-screen with.
The women of writer-director Nicole Holofcener’s films have often been described as “dysfunctional” or “complicated”, the most rote of the catchwords used to suggest a kind of tough-as-nails realism. They are women, frequently single, sharp-tongued and exasperating, who evoke Henrik Ibsen’s groundbreaking Nordic anti-heroines, Nora Helmer and Hedda Gabler and Helene Alving, and the comic neuroses of Woody Allen, of whom Holofcener has been called the female counterpart. Like some, but not all, of Allen’s women – I’m thinking of Judy Davis in Husbands and Wives, Mia Farrow in The Purple Rose of Cairo and, of course, Diane Keaton in Annie Hall – Holofcener’s protagonists are flawed, wry, introspective and modern. They’re easy to love on-screen, if less so to the people they’re on-screen with.
- 9/13/2018
- by Jake Nevins
- The Guardian - Film News
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