“Getting divorced with a kid is one of the hardest things to do. It’s like a death without a body.”Bert Spitz
In The Meyerowitz Stories, I praised Noah Baumbach’s ear for conversational dialogue, which he deploys here to greater effect in a script that prizes raw emotion above the indie intellectualism of his recent output. This is a nuanced, even-handed exploration of the personal toll of fractious divorce, worsened by legal tactical considerations (I cannot think of a starker reminder of why I considered family law for only a moment), strongly reminiscent of Kramer v Kramer. Similarly, the film rests upon two powerhouse central performance, both Adam Driver and Scarlett Johansson delivering award-worthy turns. They allow us to sympathise with privileged characters whose circumstances are far from universal even if their personal problems are more familiar. Of note is an intense single-take argument at the centre of the film, in which we see two people who know exactly how to hurt one another even when they have no intention of doing so. It feels slightly more scripted than the sublimely natural extended argument in Before Midnight, but it highlights perfectly the tragedy and loss of control inherent in the expiry of any loving relationship.