“Family is the cradle of the world’s misinformation.”Jack
“White noise”, both figuratively and literally, may be an apt description of Noah Baumbach’s dialogue style, a skill he has deployed with varying effectiveness over the course of his filmography. White Noise, adapted from Don DeLillo’s breakout novel, seeks to explore the anxieties at play in a typical 1980s American middle class family, a pervasive existential dread and specifically fear of death. As someone with an apparently atypical relationship with my own mortality, I am perhaps not best placed to opine on Baumbach’s presentation but these were frustrating characters to observe navigating their issues. This is through no fault of the actors — Adam Driver is an ever-reliable lead, as a professor who is more a performer than an educator, and Greta Gerwig is similarly effective as his wife, though her character becomes increasingly absent over the course of the film. Divided into a series of discrete but thematically connected events, the most resonant was a train derailment that spews a toxic cloud into the air — whilst the children worried, Jack displayed a complacency that they would be unaffected by the disaster, shielded by their privilege — and there seems to be an underlying suggestion that American society is particularly ill-equipped to deal with events outside their control. This broader social satire is White Noise at its best, like man who demands attention because he is scared, as if his fear would be validated if deemed newsworthy. The detailed period recreation is impressive, and at times astonishing like a meticulously stocked supermarket filled with old branding. Production, costuming and acting are each impressive in isolation but White Noise feels considerably less than the sum of its parts, its increasingly absurdist tone distancing the audience from the subject matter.