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When I first saw The Squid and the Whale, I—a child of the 1980s, a child of divorce, a city child—saw a lot I recognized. Noah Baumbach’s 2005 semi-autobiographical film chronicles the breakup of a marriage in Brooklyn in 1986, and how its two children grapple with a way of new understanding their parents. It wasn’t an identical map—what ever is?—but it hit a few notes I hadn’t really ever heard outside my own...
Thanksgiving doesn’t get the Hollywood treatment the way Christmas and Halloween (and Valentine’s Day, god help us) do. Planes, Trains, and Automobiles is certainly a classic, but where do you go after that? Even if we take the holiday as a stand-in for fall more broadly, the pickings are slim—and troubled. The Big Chill is whiter than the white that sits upon the rice; Hannah and Her Sisters is an urgent reminder of the...
Tomorrow is St. Patrick's Day, New York City's premier occasion for public debauchery, but if you'd prefer to bamboozle your emotional sensibilities rather than your liver, the Film Society of Lincoln Center is hosting a series entitled Growing Up Baumbach, highlighting three films by the acclaimed filmmaker (and recent Brooklyn Magazine cover subject). Bonus for attending the screening: you'll be inside, while the lesser among us wander the streets in a drunken haze, occasionally...
The first thing you notice about Noah Baumbach, the writer and director of films like Margot at the Wedding and Frances Ha, is that he is exceptionally well put together. Handsome, even. I am meeting Baumbach at Casa Mono, the Michelin-starred, Mario Batali-and Joseph Bastianich-owned tapas restaurant around the corner from his Gramercy apartment. It’s a blustery, freezing Friday, the coldest day in New York City this year, and OK sure—Baumbach’s just come from...

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