A New York woman (who doesn't really have an apartment) apprentices for a dance company (though she's not really a dancer) and throws herself headlong into her dreams, even as the possibility of realizing them dwindles.
Margot and her son Claude decide to visit her sister Pauline after she announces that she is marrying less-than-impressive Malcolm. In short order, the storm the sisters create leaves behind a mess of thrashed relationships and exposed family secrets.
Jennifer Jason Leigh,
In 1986, In Brooklyn, New York, the dysfunctional family of pseudo intellectuals composed by the university professor Bernard and the prominent writer Joan split. Bernard is a selfish, cheap and jealous decadent writer that rationalizes every attitude in his family and life and does not accept "philistines" - people that do not read books or watch movies, while the unfaithful Joan is growing as a writer and has no problems with "philistines". Their sons, the teenager Walt and the boy Frank, feel the separation and take side: Walt stays with Bernard, and Frank with Joan, and both are affected with abnormal behaviors. Frank drinks booze and smears with sperm the books in the library and a locker in the dress room of his school. The messed-up and insecure Walt uses Roger Water's song "Hey You" in a festival as if it was of his own, and breaks up with his girlfriend Sophie. Meanwhile Joan has an affair with Frank's tennis teacher Ivan and Bernard with his student Lili.Written by
Claudio Carvalho, Rio de Janeiro, Brazil
Noah Baumbach takes a loving (oh?) stab at his parents' divorce, brought on by the hilariously immature antics of his father, and my writing professor, the ever pompous Jonathan Baumbach (Jeff Daniels).
Brooklyn College was a hotbed of activism and liberal arts when I first encountered Jonathan Baumbach (rechristened "Bernard" in the film, a sly wink at Jonathan's mentor and hero, Bernard Malamud). The arrogance and complete lack of self awareness is perfectly captured by Daniels in his over-the-top performance which, amazingly, underplays the actual father.
To call the picture patricidal is to completely miss the point; Baumbach pere is so self centered, he likely sees the film as an homage. Baumbach Sr. is a great writer; he receives good reviews in the literary journals and his books sell in the hundreds. Baumbach Jr., on the other hand, is a great filmmaker, and his movies (The Life Aquatic) are seen by millions. I'm sure the father is disappointed that the son isn't pursuing tenure at a small Ohio college.
I saw this film in a cozy college theater at the Toronto Film Festival. I half expected to run into Jonathan Baumbach, in his leather patched tweed jacket, preening for the audience and eying the coeds.
Funny and poignant. You'll laugh, you'll cry, you'll want to choke the bastard.
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