It is said that it is easier to make cry than make laugh; in life in general, and especially in the cinema. Like the rest of the genres, dramatic cinema can be standardized to make “McDonalds format” films, which all know the same thing, that they do not take risks, but certainties.
A very standard certainty, of the genre in question, would be "Why do bad things happen to good people?" All said, these films tend to have better acceptance by critics, one could even say that they are plots with Oscar's high affinity. However, simplifying a drama by taking it to the slightest expression does the same favor as the eschatological humor, to the genre of comedy.
Should a drama be realistic? Should you tell a story that viewers should feel identified with? As George RR Martin said, citing William Faulkner, "the only thing worth writing about is about the human heart and the conflict with itself." According to this correct statement, a good drama must tell the conflicts of the human heart, must take risks, flee from the clichés products seen a thousand and one times, and thus bring a drama to its maximum expression. In other words, a good drama should take the idiosyncrasy of the Story of a marriage, as a decalogue of how to tell a story in dramatic cinema.
Written and directed by Noah Baumbach, Untitled Noah Baumbach Project tells the story of a couple in the process of separation, prior to divorce. Charlie is rational, thoughtful, and a very good father. Nicole is emotional, impulsive, and a very good mother. Each character is taken to their best expression, watch it now and see for yourself.
We are facing "humanized" protagonists. Each one is so well developed that the motivations of one and the other can be perfectly understood, even if they are diametrically opposed. The best debates are those that there are two opposing parties, in which each one is partly right, because each one feels that he is the defender of the truth (actually being “his” biased truth).
In this opinion of the Untitled Noah Baumbach Project, it is necessary to emphasize that the script knows how to raise the conflict, without opting for one side or another. Nothing is ridiculed in favor of a forced conclusion, there are no easy resources to manipulate the viewer, there is no trace of clichés seen once and a thousand times before in the dramatic cinema ... a wonder.
The thematic richness of the script is another of the strengths of this film. The main issue is how to overcome a divorce, but that's just the tip of Baumbach's narrative iceberg. Other secondary issues that crumble in an original way are the evolution of family nuclei, fidelity, loneliness, unconditional love, fatherhood and motherhood as independent events, maturity, existential crises ... and thus, a large thematic volume that Raise this script as one of the best of 2019.
To conclude this criticism of the Untitled Noah Baumbach Project, it would be necessary to point out some aspects in which the film does not stand out so much. However, as we write these lines it is difficult to find something substantial that plays against this wonder of dramatic cinema, watch online the movie to find out why.
Perhaps some scenes are a bit repetitive, perhaps the brilliant interpretations of Driver and Johansson (surely the best interpretation of the career of both) shade the others, perhaps the son in question too endearing. Maybe…
The possible "buts" are still very minor aspects. We are facing a well written, well directed, and even better interpreted drama. A film of characters, developed with time and love, which leaves us with two of the best performances of the year, and a frame of reference for upcoming dramas.