It’s difficult to label this movie as something that provokes an easy laugh. Rather it is the kind of movie that forces you to have a peculiar or uncharacteristic reaction that’s completely unnecessary, to begin with. And this aspect is the whole and sole of why Margot At The Wedding caught me off guard.
Beside the point, I specifically chose to write about the illuminating reality of conversations that bind the idiosyncrasies of two people in a kind of relationship that defines nothing but eccentric consequences. The characters walk in zig-zag lines to not only observe but shackle the bond of beauty itself into something self-serving and conceited. In short, you’ll find yourself bound to misery in its fullest dimensions. That is precisely what a dysfunctional relationship ought to explore as a deeply exhaustive yet thoughtful concept. Perhaps becoming unaffected to a point where showing little to no concern in matters besides yourself is the greatest normalcy of life, as we know it.
The clever insanity and indifference portrayed is not shocking, but seems too real to be true. The kind of dispassion each character provokes in another through brutal honesty and constant justification humiliates the conventional families that are often plotted on-screen.
This same logic applies to Noah Baumbach’s The Meyerowitz Stories (New and Selected).
I loved the unorthodox display of unanswered affection and unresolvable temperaments of each character. At this point, I feel a part of me exists as all the characters in the movie, including Malcolm, Ingrid, Jim, and Pauline. Margot and Claude taking the leading positions in my frame of mind.
In whichever way the concept of “family” is portrayed in this movie, it certainly sticks, in my way of thinking, as the epitome of perceiving the out-of-the-ordinary as completely familiar and relatable. There’s more than just seeing, but feeling the characters unravel in front of your eyes in-between the socially awkward, yet seductive, language of storytelling. And that’s one of the expert functions of good films like Noah Baumbach’s Margot At The Wedding and The Meyerowitz Stories (New and Selected). Both exquisite tools of knowing how often people wish to be confronted by their harsh and unwavering realities, within their own limits, regardless of how much or how little they care for it.