![]() Harrigan’s Phone explore the unlikely friendship between a poor teenager ( Jaeden Martell) and an elderly billionaire ( Donald Sutherland). It’s wonderfully clear-eyed and non-judgemental, providing a crucial jumping-off point for wider discussions about the impossible expectations placed upon women.Cast: Donald Sutherland, Jaeden Martell, Kirby Howell-Baptiste, Joe Tippett, Cyrus Arnold, Carl Zohanīased on the Stephen King novel of the same name, Mr. There she encounters the enigmatic Nina (Dakota Johnson), a mother whose three-year-old suddenly goes missing, triggering a period of intense reflection in Leda about the responsibilities she herself relinquished, and the joys and sadness that brought her. At its heart is Leda, played in flashbacks by the luminous Jessie Buckley as an exasperated young academic with two daughters to entertain, and later as a wistful, now-established university professor and translator by Olivia Colman who, when the film opens, is holidaying in Greece. His HouseĮlena Ferrante’s books have long yielded rich, cinematic adaptations-HBO’s multi-season My Brilliant Friend, Netflix’s captivating miniseries The Lying Life of Adults-and Maggie Gyllenhaal’s astonishingly accomplished feature debut is no different: a layered and complex study of female ambition, disappointment, rage, doubt and, above all, the conflicting impulses of motherhood. The final shot makes me bawl every single time. It builds, scene by scene, including via that legendary blowout, to a satisfying but entirely realistic conclusion that makes it essential (and cathartic) viewing for all children of divorce. Laura Dern rightly walked away with an Oscar for her barnstorming take on a thorny, grandstanding divorce lawyer, but this is, in every sense, an ensemble piece, with a bevy of unforgettable turns: Scarlett Johansson as an emotionally wounded actor Adam Driver as her frustrated theater-director husband Azhy Robertson as their introverted young son Julie Hagerty and Merritt Wever as the former’s conflicted mother and sister Ray Liotta as a rabid bulldog of an attorney and even Martha Kelly as a deliciously deadpan social worker. ![]() Kramer that somehow surpasses them with its sharp wit, flawless writing, and eye for the comically absurd. Yes, the memes have overshadowed it somewhat in the years since its release, but Noah Baumbach’s heartbreaking and hilarious account of a crumbling marriage is undoubtedly a masterpiece: a meticulously crafted callback to Hollywood classics like Kramer vs. ![]() It’ll become seared into your brain, not only for its gut-wrenching set pieces (an earthquake in a children’s ward, a raging forest fire, a trip to a furniture shop curtailed by a riot, Cleo diving into the sea to save the kids, one of the most harrowing birth scenes ever committed to film), but also its more serene and contemplative moments: everyone watching TV together in a picture of familial bliss that is soon shattered the eventual return of domestic normalcy and the sweet scene in which Cleo lies in the sun and plays dead with her young charge. It’s measured and leisurely as we meet and grow close to our lead, a live-in maid with crises of her own to manage, who nevertheless gets swept up in the collective chaos when her employer (Marina de Tavira) finds her husband (Fernando Grediaga) is abandoning her and their young children. From its very first shot-Yalitza Aparicio’s Cleo methodically washing a stone floor-to its last-her ascending the stairs with a pile of washing–Alfonso Cuarón’s semi-autobiographical tale of a family imploding in ’70s Mexico City is an unimpeachable triumph.
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