There is a 100% chance someone at a Q&A asked Tamara Jenkins if she was a fan of The Graduate.
Seems like every couple of years there’s a movie that feels like Woody Allen would’ve made it back in the day. In 2015, it was Mistress America. This year, it’s this — though it certainly has a stronger female perspective, differentiating itself from other films in the oddly specific subgenre.
Giamatti owns. Hahn owns. Kayli “Saoirse Ronan’s long-lost sister” Carter owns. And I can’t wait to dig into Tamara Jenkins’ prior filmography.