Tag: Noah Baumbach

  • Director couple Greta Gerwig and Noah Baumbach welcome second baby

    By PTI

    LONDON: Director couple Greta Gerwig and Noah Baumbach have become parents to their second child, a baby boy.

    Gerwig, who is awaiting the release of her film “Barbie” which she co-wrote with her partner, told fashion magazine Elle UK that she gave birth four months ago.

    “He’s a little schmoo. That’s very much his energy.He’s a wise little baby. I’m still doing that thing where I wake up every hour to 90 minutes and just hover. You just keep wanting to look at that baby,” she said.

    Gerwig, 39, and Baumbach, 53, are already parents to four-year-old son Harold.

    Baumbach also shares son Rohmer, 13, with his former wife, actor Jennifer Jason Leigh.

    Gerwig and Baumbach, who have worked together on several films such as “Frances Ha” and “White Noise”, have been in a relationship since 2011.

    LONDON: Director couple Greta Gerwig and Noah Baumbach have become parents to their second child, a baby boy.

    Gerwig, who is awaiting the release of her film “Barbie” which she co-wrote with her partner, told fashion magazine Elle UK that she gave birth four months ago.

    “He’s a little schmoo. That’s very much his energy.He’s a wise little baby. I’m still doing that thing where I wake up every hour to 90 minutes and just hover. You just keep wanting to look at that baby,” she said.googletag.cmd.push(function() {googletag.display(‘div-gpt-ad-8052921-2’); });

    Gerwig, 39, and Baumbach, 53, are already parents to four-year-old son Harold.

    Baumbach also shares son Rohmer, 13, with his former wife, actor Jennifer Jason Leigh.

    Gerwig and Baumbach, who have worked together on several films such as “Frances Ha” and “White Noise”, have been in a relationship since 2011.

  • Cinema without borders: Mistress America — The persistence of alienation

    Express News Service

    Noah Baumbach’s 2015 film Mistress America, is bookended by two lovely lines. It begins with Tracy Fishko (Lola Kirke)—a pivotal character, narrator, and interpreter of the story—describing Brooke Cardinas (Greta Gerwig): “She would say things like—isn’t every story a story of betrayal?” Things come full circle with her parting shot and that of the film, eulogising Brooke: “Being a beacon of hope to lesser people is a lonely business.” In between spans a wacky tale about these two ordinary, whimsical women, who are soon-to-be stepsisters, the equally quirky, average folks around them and their many capricious businesses of life. What’s more, as Brooke is prone to postulate, the story they share also has to do with treachery and deception.

    Google “Greta Gerwig” and you are likely to find your screens turning the right shade of bright pink with the hype and hoopla around the much-anticipated release of her big-ticket directorial venture Barbie, this Friday. She has co-written it with the filmmaker, and her partner, Baumbach. Perfect time then to visit one of their earlier screenwriting collaborations.

    However, unlike the deliberately extravagant Barbie, Mistress America feels resolutely muted and indie-spirited and fittingly opened at the Sundance Film Festival. Not much transpires in it by way of action but a lot happens through interminable, winding conversations, one leading to the next. The entire film is structured around the chatter of its dramatis personae. 

    Mistress America Tracy is unable to adjust well in Barnard College and feels lonely amid snobbish fellow students at Columbia University. On her mother’s advice, she reaches out to Brooke hoping that the one with a life in New York will help her feel at home in the city. Tracy is 18, and Brooke is 30, both are in search of their true selves and have a future in common—their parents are about to get married to each other. Brooke isn’t just fun; she also inspires Tracy, the author in search of a compelling character, to write a story for the college literary magazine. But without Brooke being privy to the fact that her protagonist draws a lot from her.

    Meanwhile, when Brooke’s boyfriend withdraws financial support for her dream restaurant project, she along with Tracy, her collegemate Tony and his jealous, suspicious girlfriend Nicolette, travel to Connecticut to meet Mamie Claire, who had, in the past, stolen a T-Shirt business idea of Brooke’s and her cat and fiancée as well. They crash her Faulkner reading party for pregnant women and later pitch to attract investment from her and her husband Dylan, but not quite successfully. Things come to a head when Tracy’s secret story gets spotlighted much to Brooke’s offence. It’s back to square one with Tracy just as ill at ease in her world and Brooke trying another new move in life to find herself. The persistence of alienation continues.

    Gerwig and Baumbach fashion an interesting bunch of edgy characters that are in a state of constant formation, with a defined core to them. There are no arrivals in their journeys. Since these are inner quests of life rather than outward strolls, it’s words that help spell out the individual drifts. A trifle self-aware and indulgent at times, especially in articulating the engagement with and selling away of oneself on social media— “must we document ourselves all the time”—the film is sparkling with wit in most instances, especially in underlining the kookiness of individuals.

    The camera feels like the proverbial fly on the wall, the filming is improvised, and the situations and performances have a natural and impromptu touch. You come out feeling a lot for Gerwig as Brooke, the so-called “last cowboy who is all romance and failure”. Now whether Margot Robbie does the same for the audience in Barbie as the imperfect doll on a journey to self-discovery in the human world.

    Cinema Without  BordersIn this weekly column, the writer explores the  non-Indian films that are making the right noises across the globe. This week, we talk about  Noah Baumbach’s Mistress America 

    Noah Baumbach’s 2015 film Mistress America, is bookended by two lovely lines. It begins with Tracy Fishko (Lola Kirke)—a pivotal character, narrator, and interpreter of the story—describing Brooke Cardinas (Greta Gerwig): “She would say things like—isn’t every story a story of betrayal?” Things come full circle with her parting shot and that of the film, eulogising Brooke: “Being a beacon of hope to lesser people is a lonely business.” In between spans a wacky tale about these two ordinary, whimsical women, who are soon-to-be stepsisters, the equally quirky, average folks around them and their many capricious businesses of life. What’s more, as Brooke is prone to postulate, the story they share also has to do with treachery and deception.

    Google “Greta Gerwig” and you are likely to find your screens turning the right shade of bright pink with the hype and hoopla around the much-anticipated release of her big-ticket directorial venture Barbie, this Friday. She has co-written it with the filmmaker, and her partner, Baumbach. Perfect time then to visit one of their earlier screenwriting collaborations.

    However, unlike the deliberately extravagant Barbie, Mistress America feels resolutely muted and indie-spirited and fittingly opened at the Sundance Film Festival. Not much transpires in it by way of action but a lot happens through interminable, winding conversations, one leading to the next. The entire film is structured around the chatter of its dramatis personae. googletag.cmd.push(function() {googletag.display(‘div-gpt-ad-8052921-2’); });

    Mistress America Tracy is unable to adjust well in Barnard College and feels lonely amid snobbish fellow students at Columbia University. On her mother’s advice, she reaches out to Brooke hoping that the one with a life in New York will help her feel at home in the city. Tracy is 18, and Brooke is 30, both are in search of their true selves and have a future in common—their parents are about to get married to each other. Brooke isn’t just fun; she also inspires Tracy, the author in search of a compelling character, to write a story for the college literary magazine. But without Brooke being privy to the fact that her protagonist draws a lot from her.

    Meanwhile, when Brooke’s boyfriend withdraws financial support for her dream restaurant project, she along with Tracy, her collegemate Tony and his jealous, suspicious girlfriend Nicolette, travel to Connecticut to meet Mamie Claire, who had, in the past, stolen a T-Shirt business idea of Brooke’s and her cat and fiancée as well. They crash her Faulkner reading party for pregnant women and later pitch to attract investment from her and her husband Dylan, but not quite successfully. Things come to a head when Tracy’s secret story gets spotlighted much to Brooke’s offence. It’s back to square one with Tracy just as ill at ease in her world and Brooke trying another new move in life to find herself. The persistence of alienation continues.

    Gerwig and Baumbach fashion an interesting bunch of edgy characters that are in a state of constant formation, with a defined core to them. There are no arrivals in their journeys. Since these are inner quests of life rather than outward strolls, it’s words that help spell out the individual drifts. A trifle self-aware and indulgent at times, especially in articulating the engagement with and selling away of oneself on social media— “must we document ourselves all the time”—the film is sparkling with wit in most instances, especially in underlining the kookiness of individuals.

    The camera feels like the proverbial fly on the wall, the filming is improvised, and the situations and performances have a natural and impromptu touch. You come out feeling a lot for Gerwig as Brooke, the so-called “last cowboy who is all romance and failure”. Now whether Margot Robbie does the same for the audience in Barbie as the imperfect doll on a journey to self-discovery in the human world.

    Cinema Without  BordersIn this weekly column, the writer explores the  non-Indian films that are making the right
     noises across the globe. This week, we talk about  Noah Baumbach’s Mistress America 

  • Noah Baumbach’s White Noise gets a trailer

    By Express News Service

    The trailer for Noah Baumbach’s dark comedy horror film White Noise has just dropped online. The film is an adaptation of a novel of the same name written by Don DeLillo. This is the first time the director is making a film not based on his own original story. 

    The film follows a professor who teaches about Adolf Hitler and how his family is torn apart by an airborne toxic event following a train accident that spreads toxic waste all over the town. 

    The film is all set to premiere at the 79th Venice International Film Festival on 31 August. The film is also expected to open the coveted New York International Film Festival. 

    The makers are planning to release it on Netflix sometime around the end of this year, they are expected to announce the streaming release date shortly.

    The trailer for Noah Baumbach’s dark comedy horror film White Noise has just dropped online. The film is an adaptation of a novel of the same name written by Don DeLillo. This is the first time the director is making a film not based on his own original story. 

    The film follows a professor who teaches about Adolf Hitler and how his family is torn apart by an airborne toxic event following a train accident that spreads toxic waste all over the town. 

    The film is all set to premiere at the 79th Venice International Film Festival on 31 August. The film is also expected to open the coveted New York International Film Festival. 

    The makers are planning to release it on Netflix sometime around the end of this year, they are expected to announce the streaming release date shortly.

  • Simu Liu in talks to join Greta Gerwig’s ‘Barbie’

    By Express News Service

    Canadian actor Simu Liu is in negotiations to join Greta Gerwig’s next feature film Barbie. The film, to be directed by Greta Gerwig has already confirmed the lead cast members as Margot Robbie and Ryan Gosling, with the former as Barbie and the latter as Ken. The plot of the film is currently kept under wraps. The project is written by Gerwig and Noah Baumbach. Robbie will also serve as one of the producers of the film. 

    Robbie is bankrolling the project through the LuckyChap banner alongside Tom Ackerley. In addition, Mattel Films’ Robbie Brenner and Paddington’s David Heyman are also producing. Liu is best-known for the show Kim’s Convenience and his most recent film Shang-Chi and The Legend of The Ten Rings.

    He played the titular superhero in the film which grossed $432 million at the global box office making it one of the highest-grossers during the pandemic. He is also a part of two interesting feature movies. The first is a romance titled One True Loves, in which he will star opposite Hamilton star Phillipa Soo. The second is  Arthur the King, in which he will be sharing screen space with Mark Wahlberg.

  • Don Cheadle, Jodie Turner-Smith join Noah Baumbach’s drama 

    By Express News Service
    Actors Don Cheadle and Jodie Turner-Smith are the latest additions to the cast of Noah Baumbach’s White Noise. The film, which is currently under development at Netflix, features Adam Driver and Greta Gerwig in the lead roles. The news of casting came through Turner-Smith, while appearing in the Women in Motion program at the ongoing Cannes Film Festival.

    “It feels really cool to be a part of something with a director you respect and admire, and who, you know, has a vision. When you walk into a set, knowing that you are going to be a part of somebody’s vision, who is extremely talented, there’s something humbling and exciting about it,” said Turner-Smith, whose acting credits include Queen & Slim and the Without Remorse.

    White Noise is an adaptation of Don DeLillo’s acclaimed 1985 novel by the same name and follows a year in the life of Jack Gladney, a professor who has made his name by pioneering the field of Hitler studies.

    The film is expected to hit Netflix next year.