Sentences with phrase «between gerwig»

Criterion's excellent DVD / Blu - ray combo pack includes an interview between Baumbach and Peter Bogdanovich and one between Gerwig and Sarah Polley.

The Frances we get (a collaboration between Gerwig, who co-writes, and Baumbach) is a little less manic pixie and a little more real life, and while she never entirely loses her indie quirk (the film is filled with lines like «You know what Virginia Woolf book this reminds me of...?»)

That's also when the film goes from great to greater, as the mostly small - scale back - and - forth between Gerwig and Kirke expands to a dizzying series of interactions between nearly a dozen characters over the course of one afternoon.

The dynamic between Gerwig and Sumner (terrific in a tonally tricky role) becomes almost unbearably poignant in a late scene between the two at Vassar.

As is, it may be a coin toss between Gerwig and Peele.

Not exact matches

In Lady Bird, Greta Gerwig reveals herself to be a bold new cinematic voice with her directorial debut, excavating both the humor and pathos in the turbulent bond between a mother and her teenage daughter.

A sweet, deeply personal portrayal of female adolescence that's more attuned to the bonds between best girlfriends than casual flings with boys, writer - director Greta Gerwig's beautiful Lady Bird flutters with the attractively loose rhythms of youth.

This surprise, small budget, black - and white - collaboration between writer / director Noah Baumbach (Greenberg 76, The Squid and the Whale 82) and writer / star Greta Gerwig looks at the post-college life of Frances (Gerwig), an apprentice dancer fumbling though life in New York City.

Greta Gerwig's Lady Bird is an uncommonly nuanced and intelligent film about the volatile relationships between teenage girls and their mothers, and it begins with a brash, borderline - surreal expression of frustration.

The first trailer for Todd Solondz's Wiener - Dog puts the emphasis on quirk as it cuts between the lives of Danny DeVito, Greta Gerwig, Ellen Burstyn, Julie Delpy, Zosia Mamet, Kiernan Culkin, Tracy Letts, and the one wiener - dog who connects...

His newest film sweeps the corners on the ages not covered by those two films, focusing on the unlikely friendship between a college freshman (Lola Kirke) and a woman hovering around 30 (Greta Gerwig)-- and in doing so, Baumbach and Gerwig cook up what may be his flat - out funniest movie of the past decade.

The picture centers around the relationship between two soon - to - be sisters (or stepsisters for that matter), played by Lola Kirke and Greta Gerwig.

The second collaboration between star / writer Greta Gerwig and director Noah Baumbach is an exponentially more mature and revealing look at young womanhood.

Now he faces his biggest challenge — choosing between an arranged marriage with corporate exec Susan (Jennifer Garner) that will ensure his lavish lifestyle or an uncertain future with the one thing money can't buy, Naomi (Greta Gerwig), the only woman he has ever loved.

Gerwig wonderfully captures the complicated dynamic between mother and daughter, where a minor argument while driving can lead one to suddenly hurling oneself out of a moving vehicle.

Though familiar in subject matter, despite its uniquely confident female perspective, Gerwig never hits a false note, oscillating between wisdom and poignancy without falling into the trap of the nostalgia from a period so clearly influencing this sweetly tuned homage to misguided angst, ignorant yearnings, and the desire to break out on one's own.

Consider the centrepiece, a lopsided love triangle between budding architect Jack (Jesse Eisenberg), his naive college - student girlfriend Sally (Greta Gerwig), and her visiting friend Monica (Ellen Page), a man - eating failed actress.

Of course, even the cheesiest script would probably be forgivable if there were any real chemistry between Brand and Gerwig — but there is not.

A tight race between Greta Gerwig and Martin McDonagh might just be tipped in Gerwig's direction by the fact that her screenplay, based on her own teenage years, is more heartfelt — and also by the fact that the HFPA might owe her one, since she wasn't nominated for Best Director.

In our review from Telluride last year, we noted that for Baumbach «it marks an exciting new period in the filmmaker's oeuvre and one that will hopefully yield many more collaborations with the endearing and charming Greta Gerwig... The alchemy between them has produced a seriously funny, sad and engaging dramedy and it's one of Baumbach's best efforts to date.»

I sat down with Gerwig to talk about her unique character, the difference between working on a Hollywood project as opposed to an independent, and what the next Woody Allen movie To Rome with Love is going to be like.

Gerwig puts a natural sweetness into the vulnerable character, and makes the rather tumultuous relationship between her and Greenberg even more warming.

With a Conversation Between Barry Jenkins and Greta Gerwig, A24's New Podcast Is Off to an Amazing Start

And Gerwig's dialogue hits that rare, special sweet spot between authenticity and zing — an ideal middle ground, in other words, between the way people really talk and the gut - busting way we only wished they did.

The sudden break between previously inseparable friends casts Gerwig's character adrift in Frances Ha, but in the new film it's a sudden closeness that proves perilous.

In an interview between Sarah Polley and Gerwig, the former notes that at the first screening of Frances Ha at Telluride, she «had this feeling of overwhelming delight.»

And if Gerwig isn't reinventing the coming - of - age movie, she's certainly investing it with uncommon wit and quotability; her dialogue hits that rare, special sweet spot between authenticity and zing — an ideal middle ground, in other words, between the way people actually talk and the gut - busting way we only want them to.

On the evening in October 2016 when the movie crew shot the innocent frolic between Lady Bird and Danny in the McKinley Park rose garden, the one where the lovebirds waltz through the rose bushes and name a star in the sky to commemorate their new romance, Gerwig's friends and family gathered to watch, including her brother and sister - in - law, who live in Land Park, Mickiewicz's sister and nieces, and Trafton, who said of the experience, «We were in the present, seeing a story inspired by the past, and witnessing something incredible about Greta's future.

The film, which Gerwig also wrote solo following several previous screenplay collaborations including two with Noah Baumbach on her starring films Frances Ha and Mistress America, is set in 2002 Sacramento, California where Christine attends a Catholic school while also dealing with the shaky bond between her and her domineering, impossible to please mother Marion (Laurie Metcalf) who is trying to hold the family together by working double shifts as a nurse after her husband Larry (Tracy Letts) has lost his job.

«We very deliberately set out to make this movie where the central question and the central relationship was another relationship between two women,» Gerwig said.

In films like «Damsels in Distress» and the sublime «Frances Ha,» Gerwig the actress skillfully pivots between the wacky and the poignant, so it's no surprise that Gerwig the auteur so delicately balances hilarity and heartbreak.

There is no other Gunther's on the planet, with its «Jugglin» Joe» neon sign from 1949; no other rose garden anywhere filled with Gerwig's memories; and no Tower Bridge lookalike that could have been a more stunning backdrop for a momentous coming - of - age conversation between Lady Bird and her best friend Julie (played by newcomer Beanie Feldstein, now starring opposite Bette Midler in the Broadway revival of Hello, Dolly!).

What happens in «Mistress America» is quite different than what plays out in «Frances Ha» — which sees Gerwig's titular Frances attempting to reconcile her directionless lifestyle with that of her best friend's (played by Mickey Sumner), one that seems to be growing more stable by the minute — by heightening the disparity between its central characters.

Some other notable films from female directors include the Telluride breakout «Lady Bird» by Greta Gerwig, a semi-autobiographical coming - of - age movie about women and female familial relationships; Brie Larson's magical realist directorial debut «Unicorn Store»; and «Battle of the Sexes,» a chronicling of the run - up to the landmark 1973 tennis match between Billie Jean King and Bobby Riggs, directed by Valerie Faris and her husband, Jonathan Dayton.

We understand them both clearly as Gerwig's camera cuts evenly between the two, but it's the capper of this scene which culminates in a shocking, split - second maneuver, that made me laugh out loud and appreciate Gerwig's blunt honesty, and her dark and daring sense of humor.

Cast: Greta Gerwig, Mickey Sumner, Adam Driver Program: Special Presentations Headline: Annie Ha Noel's Take: Someday when cultural historians look back at this era of cinema and television, they'll wonder why we so obsessively documented the lives of upper - middle - class city - dwelling Americans between the ages of 22 and 28.

A striking directorial debut by Greta Gerwig, this tender, semi-autobiographical love letter to her hometown of Sacramento explores the gulf between childhood and adulthood with touching, witty humor.

Gerwig is particularly attuned to the whipsaw emotional shifts between mother (the marvelous Laurie Metcalf) and daughter, and the undercurrents of closeness and tension that percolate through this most tortuous of human relationships.

At its heart, Mistress America is the study of a female friendship between freshman Tracy (Lola Kirke) and live wire Brooke (Greta Gerwig, who co-writes), a relationship forged by their status as prospective stepsisters.

That leaves Arthur trapped between a rock and a bank account when his tycoon mother says he'll be cut off if he doesn't marry uptight Susan (Jennifer Garner), who can't hold a candle to the far more appealing Naomi (Greta Gerwig, a considerable step up in the cuteness department from Liza Minnelli).

Non-mumbly filmmaker Noah Baumbach took note and cast Gerwig in his caustic Greenberg, a move that led to a personal and professional partnership between the two.

Gerwig told me she really sees the movie as a love story between a strong - willed mother (impeccably played by Laurie Metcalf) and her equally fierce - minded daughter.

«Lady Bird,» Greta Gerwig's delightful semi-autobiographical look at the relationship between an equally headstrong mother and daughter set over the course of the latter's senior year in high school, was named the winner of the Chicago Film Critics Association's award for the Best Picture of 2017 in a ceremony held tonight.

Gerwig's strong freshman feature strikes a balance between the mumblecore sensibilities of frequent collaborators Joe Swanberg and Noah Baumbach while bringing a refreshingly anarchical female voice into the choir.

Gerwig understands the gap between the person you are and the person you dream of becoming.

Throughout the race, the director awards were split up pretty evenly between Guillermo del Toro, Christopher Nolan, and Greta Gerwig.

Greta Gerwig's «Lady Bird» portrays a tempestuous relationship between a Sacramento high School student (Saoirse Ronan, left) and her mother (Laurie Metcalf).

The film is a collaboration between director Noah Baumbach, who is also one of the film's producers, and actor Greta Gerwig who plays the lead character Frances Halladay.

Don't get Gerwig started on the naked embrace between Sally Hawkins and the fish creature in «The Shape of Water.»

For its smart, honest storytelling and strong performances (particularly from Ronan and Metcalf), the film suffers some significant pacing problems with it lurching between acts in an at times ungraceful manner, the aftershock of Gerwig finding her footing behind the camera.