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三小时早午餐的朋友:Greta Gerwig的分手

“Frances Ha”

弗朗西斯,Greta Gerwig在她共同写作的电影中的二十件事上是二十多岁的Noah Baumbach.,“Frances Ha.,“离开地方有麻烦。她会肯定地告诉你,有一系列羞怯的侮辱和风骚的魅力。她滞后并花了她的时间,从未度过了空间或心灵的空间或框架,或者甚至是她的生活中的部分别人认为她应该很好地离开了她的年龄。二十七虽然老了,但她的室友Benji一点。

弗朗西斯也难以离开与索菲的友谊(米克·萨姆纳)曾经是并进入目前的地方,因为索菲与男友的关系变得更加严重。A circuitous, but no less inevitable dissolution of Frances and Sophie’s relationship is captured between the thumb and forefinger of Noah Baumbach and Greta Gerwig’s perceptive screenwriting, from the last good day to a regrettable night drunk on fancy vodka, facing one’s mirror with one’s foot on the ground to stop the room from spinning. Living situations change. Hangouts are shorter. And Frances is forced to transmogrify into a third wheel, during which there is an awkward scrimmage for power.


Greta Gerwig与朋友浪漫的伟大纪念碑一样多,因为她是朋友分手,那些在大多数电影和电视中的繁琐赛事被描绘成导致串扰,分裂屏幕和Andy Cohen演奏Catty Referee的灾难性的事件。(好的,也许我一直在看很多“真正的家庭主妇”。但在“Frances Ha”中,“女主人美国,“ 和 ”夫人鸟,“他们是,没有失去个人情感重量,这更令人不舒服的事实。

“Frances Ha”的特定形象作为一个有用的模板:在被告知她不会在假日季节的剩余时间后最终离开她的梳妆室后,她与索菲和她的男朋友补丁一起举行帕特里克·赫森)。他们的计划晚会在一起减少到“快速饮酒”,因为假期访问迎接男朋友的父母。随着两个人兴起他们的计划,他们向宠物名称和宝宝谈话,最令人厌恶的事情。弗朗西斯试图扮演。由于补丁扼杀了索菲的包装拖延,索菲转向弗朗西斯,一个吹嘘,不再寻求朋友在他们亲密的批准。Frances recognizes this as a kind of grotesque performance, her mouth hangs a little open, knowingly, yet there’s a blinkered confusion at the bizarreness of being expected to participate in this little act of coupledom which should have only been meant for Sophie and Patch in the first place. For all of her future work in her self-actualization and whatever perceived unfairness might be tingeing the relationship between her and Sophie at this time, she is at least aware of the staginess and ego of being expected to like, or even want, what Sophie has. At this point, there’s no reason to tell Sophie about how Frances is struggling, lest she be judged. It’s the first bad sign of the night. But Gerwig’s embodiment of a near out-of-body experience of personal cringe is visceral, more so than the actual verbal argument she and Sophie get into at the bar bathroom the three of them end up going to.

What stays with one after Frances and Sophie breakup is not the intensity of the bathroom argument (the roar of “Don’t treat me like a three-hour brunch friend!” is admittedly quite satisfying) but the legibly sallow look on Frances’ face as she stares at herself, spinning through the Rolodex of what went wrong that night, in her friendship, in her life. What she could have said or done or be. A silent spiral and a sinking feeling. Ultimately, anticlimactic. The recognition that you do not have what your friend has and what your friend has is being telegraphed to you as what you should have.

我最近再次看那场景,现在较少的卧室化小说,聪明的熟悉,不可思议,无意的反思,一个人在玻璃上守卫框架下方的照片。我现在的前朋友最近从她的朋友解雇了我。这是一个简短的谈话,直截了当,正式。不是特别戏剧性的。随着我小心翼翼地导航,我们的电话对话已经受到影响,以避免错误。无论我提前被指控的行为如何,我以前乐于纠正,因为我关心我的朋友的感受。她在她最管理的声音中发言。她感谢我五年的友谊(它实际上是七),在让他们打包所桌子之前,一个员工曾经担任过几年的服务,并在一天结束时离开。没有遣散费。有一个投影,显然,作为她预计我的那种人,她希望我想要她和自己想要的生活。 The same telegraphing Frances recognizes Sophie doing with each passing interaction, their expectations for themselves and for one another discordant. I admitted I was tired of walking on eggshells around her and we both seemingly threw in the towel, her beating me to some unspoken social media-unfriending race I didn’t know we were in, feeling penalized for reasons that remain opaque, yet still tethered to the idea I did something wrong and that I alone should have taken all steps to ward off against the wilting dynamic. That I should have wanted more and better, in spite of the fraught implications of wanting, desiring, less for yourself than for others.


Gerwig在友谊的皮肤下滑动一个手术刀,以剥离那些不断转移的动态,并且露出,并且渴望,欲望和矛盾。在“女主人美国”,这是一位大学新生/有抱负作家特雷西之间的萌芽友谊(lola kirke.)和所有 - 所有的和无所事事的布鲁克(Gerwig)。由于特雷西的短篇小说使用Brooke和他们共同渴望在城市和各地的夜间失去饮酒,并且在可能性中喝酒,特雷西的全刺蓬勃发展和凌乱的特征在于钦佩和判断。他们的亲密绽放,彼此相互镜子,尽管他们的年龄差异,这成为他们努力成为自己的理想化版本以及他们彼此想要的方式的一种方式。


尽管电影的新螺旋球框架,“女主人”已经伤口了。The litigation of Tracy’s story is a set-piece, but the drama is in watching Tracy head home on the Metro-North train from Connecticut to New York, not even bothering to look out the window at the line of wet trees becoming a forest of skyscrapers. She stares at a list of questions about the incriminating short story instead, which look back at her in turn, each number a vein in a fractal of interpersonal cracks. The drama is in the burning resignation of Tracy resting her head in her mother’s lap, admitting she has gone through a breakup. (Frances also uses this phrase.) The drama is also in Tracy heading back to all the places in New York she and Brooke went to, the uncertainty of whether she really wants to find Brooke after all.

在某种程度上取得了一些反向的“Frances Ha”,Brooke是弗朗西斯被判断的混乱,但这里这是一个可取的特征,但并非从怀疑主义中脱离。她不在乎让男朋友有关稳定的工作,关于安定下来的稳定。她有人兴奋,人们希望她脱离。特雷西喜欢布鲁克,但暂停。这是暂停它的污点;如果只有特雷西摧毁了门,想要她想要的东西,因为她想要它。

我没有关于手机的看法尤其戏剧性。安迪科恩将把它留在切割室;Baumbach或Gerwig可能使其作为后续场景的连接组织。即使较小的事件超出了他们通常的手段,而且无论背叛都有人,我觉得有一个预先与社会正义的身份取决于与社会正义的身份相一致,那么事件本身并不是特别显着的。有意义的个人历史,它被背负着。(我的意思是,当你与豆爸爸竞争的时候是什么?文字起义?)所有那个,七年,没有爆炸结束,但有一个痛苦的原因?同样? - “晚上好。”


在21世纪初和海岸的另一边,希望与夫人鸟(给予名称陆基)Saoirse Ronan.)。女士鸟与以某种可预测的方式锚定的人的前景不合时宜,有自由和创造性的激情。她最好的朋友朱莉(Beanie Feldstein)喜欢她想要那些东西,即使她自己不一定想要他们。

但由于想要变得更大,优先级地转移和与这些影响的关系也是如此。女士鸟被摔倒在阶级身份的梦想比她自己的梦想中,并与她的母亲凝聚着她自己的精神(Laurie Metcalf.)和朱莉作为见证人。男朋友(卢卡斯对冲)和新的富人朋友(Odeya Rush.)变得越来越少于她想要留下深刻印象的人,并以她与朱莉的关系为代价。



在我自己的友谊分手 - 通过假设推动我的前朋友想要的是我也想要的,或者更糟糕的是,应该想要的,并用种族,班级和Queerphobic underes - 不寻常的节奏是什么震撼我的东西。它扭曲了手指刺的血液测试的方式;滑倒的尖峰,它的赌注被打磨为不可避免的。无聊和乏味的事实是伤害和压力和虚伪滴落。它在大流行期间没有利益,在大流行期间没有利益,半十年后的时间或善意寻找新的基础,或对相互增长的慷慨的慷慨。(但至少有一个指责的1,200字文字消息!)


电话后,我决定观看一些Gerta Gerwig电影。我想我意识到,出于不同的原因和不同的空间,我们都是,我的前朋友和我,离开了地方。我们曾经和彼此一样曾经是谁,我们的价值是什么,我们的价值观通缉为自己和彼此;葡萄藤一旦抬起同样的围栏,现在被绘制到不同的光线。或者也许这是浪漫化的,解释远离矛盾的流泡和不平衡的无可原能的变化的舒适幻觉。