Writer/director Noah Baumbach’s output is inconsistent, but at his best, he’s got an eye of character that makes him a unique talent. Working with star Greta Gerwig, who gets a co-writer credit, Baumbach manages to provide a strong companion piece to his similarly offbeat Frances Ha. Tracy (Lola Kirke) falls under the influence of Manhattan socialite Brooke (Gerwig), who has big ideas and a entrepreneurial flair. But it soon transpires that Brooke is anything but the success she appears, and Tracy’s acceptance of that gets Mistress America off on the right foot. It’s almost like The Great Gatsby if Gatsby’s businesses had failed; Brooke is an anti-heroine who is completely wrapped up in herself, and her relationship with Tracy is all the most interesting because the film dares to look at apparently rational people who are slightly deluded about who they are and what they can achieve. It may not be the American dream, but it’s a reality that is universally recognizable. The climax may be theatrical, and the music choices are retro in a way that doesn’t quite fit the narrative, but Mistress America is a snapshot of 2015 that pulls no punches in terms of how millennials can present their lives as constant success despite encroaching failure.
An early work from writer/director Ty West, The House of the Devil is an accomplished tribute to early 80’s horror movies. The set-up is foreboding; Samantha (Jocelin Donahue) gets a babysitting job at a remote and scary looking house; she travels out with her pal Megan (Greta Gerwig), but finds no baby; instead Mrs and Mars Ulman (genre favourites Tom Noonan and Mary Wonorov) offer her four hundred dollars to stay in the house overnight. The true nature of the deception involves a satanic ritual, and Greta Gerwig’s character is one of the first to find herself in trouble. West clearly loves this kind of film, finding room for Dee Wallace (The Howling) as well as lots of deliberately dated film grammar, including some Mario Bava-type zooms. Lena Dunham provides the voice of the 911 operator.
The rising star of Greta Gerwig, mumblecore queen rising to the heights of Francis Ha, is the main attraction in Whit Stillman’s deft comedy-musical. Stillman scored a notable trilogy with metropolitan, Barcelona and The Last Days of Disco, mixing chatty dialogue, offbeat characters and austere pop culture savviness; a tasteful Tarantino, working outside the mainstream. Gerwig plays Violet, one of three girls who set out to challenge their male-dominated campus, and also invent a new dance craze at the same time. It’s fluff, but with an underlying warmth for its charmingly verbose characters that makes for a strikingly original comedy.