The order of events is something that might make sense in a Pedro Almodovar or Wes Anderson film, yet Gerwig’s filmmaking possesses none of Almodovar’s stylized zaniness or Anderson’s diorama artifice. She plays it straight. Gerwig juxtaposes moments like this throughout the film, certainly sometimes for a laugh, but never with hint of irony or remove. Over the Brion track, what follows is a deceptively breezy montage that, in just a few minutes, amusingly introduces us to over a dozen significant characters and another 15 relationships. This accomplishment from an exposition standpoint is mind boggling, but it is thoroughly entertaining and more importantly visually introduces us to major conflicts — the cause of unspoken tension with her best friend, Lady Bird’s uneasy relationship with religion, and many more — that resonate and deepen as the film unspools.
This is Howard Hawks-level work. Gerwig is driving 200mph around hairpin turns, humming a song and making it look and feel like a stroll in the park. “Lady Bird” is every inch as painstakingly planned out and precise in its complexity as “Dunkirk,” but without an inch of the directorial flex. To say this is mostly Gerwig’s incredible script is to ignore the tradition — from Billy Wilder to Noah Baumbach — of directors who constantly rewrite until they find unique ways to balance dramatic truth and comedy. For them, the script is like sheet music for the song playing in their head, which are tuned so every note is perfected before being taken to collaborators who must be conducted to play the same piece of music.
Has anyone here seen Three Billboards? It got slammed hard on the NPR podcasts Code Switch and Pop Culture Happy Hour. I was curious if people here found it racially problematic.
I saw it last night. I didn't like it as much as I thought I would. I read some critiques. I don't agree with all of it, but I did find parts of it problematic. Apart from that, I wasn't a big fan of the style, dialogue, or characterizations (though I hear they're more accurate than we think).
Meryl Streep and Tom Hanks were not nominated for SAG awards, but Margo Robbie was. Stunning!
I have not seen I, Tonya yet, but it baffles me that someone playing Tonya would be better than the nuanced performance of Meryl Streep in The Post.
BTW I don't find the Oscars that interesting anymore. There are so many different awards that by Oscar time there is very little suspense about the winners. Of course last year they made it more 'interesting' by announcing the wrong film for Best Picture.