It’s refreshing to watch a movie with real expectations and looks. In an environment where everything is distorted, Enough Said stands out for bringing characters accessible and close to what we are or hope to be. However, it is also difficult to see so much reality on screen and not feel uncomfortable with the naturalness of the whole staging.

Julia Louis-Dreyfus is the perfect fit for the role of Eva. Divorced mother, she meets the also divorced Albert (James Gandolfini) at a party and decides to give the man a chance. Upon discovering that Albert’s ex-wife is his new friend Marianne (Catherine Keener), Eva is divided. Dreyfus’s talent, then, is very well explored and the film begins a series of embarrassing situations that only work due to the actress. For the film to have the desired effect, it is indispensable and can imply embarrassment like no one else.

In addition to Dreyfus, all there are also indispensable pieces to the puzzle ridden by Nicole Holofcener. Each one fits perfectly into Eva’s ill-timed life, including her daughter, Ellen (Tracy Fairaway). With the prospect of going to college, what the Americans call “empty nest syndrome” is perceived, which in this situation involves the divorced mother quickly realizing that her life will be empty, just like her home. Chloe (Tavi Gevinson), one of Ellen’s best friends who has problems in her own home, finds refuge with Eva, who takes the opportunity to no longer feel alone – creating yet another conflict in her life with her own daughter who , On the other hand, feels abandoned.

The relationship between Sarah (Toni Collette) and Will (Ben Falcone) – Eva’s friends – who might have been used here as an escape, the happiness of a couple amid the chaos, does not leave their own conflicts aside. In addition to verbally establishing that there is a problem between the couple, Sarah changes the layout of the living room furniture of her house constantly, establishing discomfort; And she finds it extremely difficult to face her maid, always leaving for the emotional.

Holofcener hits the script by presenting three of Eva’s most loyal clients as a massage therapist: a gentleman with bad breath, a girl who talks throughout the session, and a boy who does not help her with a stretcher on a steep staircase. It is possible to realize that, despite being stronger than Sarah and leaving the relationship that went wrong behind, Eve also has problems with conflict. However, it is Albert’s honesty that causes her to reconsider her problems and face them head-on, admitting even more of her past mistakes and learning to move on – whether the result is positive or negative.

The direction does not escape from the conventional, which fits perfectly in the narrative. Nothing is extravagant, leaving everything even more grounded in realism. After all, The Quest for Love is not about alien robots or threats, but about real problems of a woman in her 40s; It’s not a drama or a comedy, it’s life. Eva facing the changes and dealing with everything in the best way possible. It is, at the least, exhilarating: Eve not against the world, but against herself.

Categories: 2013

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