Synopsis
Where there's a love, there's a way.
A stage director and an actress struggle through a grueling, coast-to-coast divorce that pushes them to their personal extremes.
2019 Directed by Noah Baumbach
A stage director and an actress struggle through a grueling, coast-to-coast divorce that pushes them to their personal extremes.
Adam Driver Scarlett Johansson Laura Dern Alan Alda Ray Liotta Julie Hagerty Merritt Wever Azhy Robertson Wallace Shawn Martha Kelly Mark O'Brien Julia Greer Matthew Maher Eric Berryman Mickey Sumner Jasmine Cephas Jones Gideon Glick Motell Gyn Foster David Turner Raymond J. Lee Mary Wiseman Pete Simpson Irene Choi Matthew Shear Becca Blackwell Brooke Bloom Hannah Dunne McKinley Belcher III Roslyn Ruff Show All…
the second time in his career adam driver has screamed at his co-star “do not compare me to my father”
I hate saying “I’m at a loss for words” as a cop out when writing reviews but I can’t think of a better way to describe my feelings towards this. A dense yet perfect examination of love, what it means to love, what it means to understand, and what it means to feel alive.
I've never even come close to being married and boy oh boy did this STILL fuck me up! Had a nice long sit alone in a room with my feelings for an hour after I left the theater.
It will mystify me, ‘till the very end, how certain pieces of art can reach people at such specifically significant times, as if spun down from the sky manually, and at a predetermined moment, by the threads of fate. How much hyperbole can one man use? Except, sadly — deeply, deeply unfortunately — these words may be the least hyperbolic I ever type. I mean every word of this diary entry with the utmost earnestness.
It took each last ounce of energy in me not to leave the theatre; at times, I could barely bring myself to stare at the screen. At others, I realized I was forgetting to breathe. This film is far, far beyond too much: I have…
Really happy I saw this on the big screen. Weird how films about disintegrating marriages can be so engrossing. Some great ones being Scenes from a Marriage, La séparation (1994), A Separation (2011) Everybody in Our Family (2012)... the list can go on and on.
This is one of my faves of the year and as accomplished as Squid and the Whale, which up to now I considered Baumbach's best.
Robbie Ryan gives the film a sophisticated and unobtrusive style with his 35mm cinematography.
Arricam LT, Panavision Primo Lenses
Arricam ST, Panavision Primo Lenses
Arriflex 435, Panavision Primo Lenses
Watched at Vancity Theater - Vancouver Intl. Film Centre
96
What I love about Marriage Story:
To begin, it's a movie about the pain within all people. What partners, in the midst of desolation, will do to protect their own self-interest. How their love is systematically broken down and fractured in the pursuit of monetary/property gain, control over their children, and the cold, ruthless separation of a friendship. Their anguish is lesser at the beginning, but in the midst of lawyers and outside opinions, it expands fruitlessly as they find more reasons to be petty, to ignore the sympathy they once began with. This pain is rooted in not recognizing a shattered dynamic, one seemingly beyond repair, if only for their selfish desires as individuals. What Nicole and Charlie…
CIFF 2019: film #8
“i’m sorry”
“me too”
an absolute stunner. every line was written with care to seamlessly blend comedy and tragedy together. it sometimes comes off as almost too polished (that SCORE!) but grounds itself once again in the realism of how fast things can go from bad to worse. adam driver is particularly good, but my favorite performance has to be laura dern, getting to stretch her legs here with material much better than what big little lies season 2 gave her
a few key scenes in this are so dramatic that the outcome with these skilled actors going toe to toe is almost unbelievable. the calm always returns, but the thunderous dialogue is still ringing in my ears. this isn’t my favorite film of the year, but i have to admit that it’s pretty fucking close
somehow transcendental and deeply, painfully human. adam driver is raising the bar like no one else.
Noah Baumbach’s latest feature is a heartbreaking AU in which actress Gena Rowlands divorces her director husband John Cassavetes in order to move to LA and further her film acting career. FINE, IT’S NOT REALLY AND I’M JUST PROJECTING, but the staging and direction are jam-packed with influences derived from mid-century art-house cinema, from the raw fervor of Cassavetes dramas to the florid, verbose monologues of Ingmar Bergman. In one scene, Nicole (Scarlett Johansson) meets with divorce lawyer Nora (Laura Dern), and their lengthy conversation is framed similarly to those famous profile shots from Persona (1966). It’s a nice allusion, but one that doesn’t really contribute anything story-wise. Is Baumbach suggesting that Nora and Nicole are one and the same,…