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Okay, fine; this isn’t a light show—but it’s a good one. Its heaviness doesn’t diminish the impression that we’re meeting these people at their best—yes, that’s right, but not at all. For me, there’s something hopeful about the way these characters are re-evaluating their lives. It’s like what Toby, our ordinary philosopher, said about the liver in the first volume: “We should all be more like liver. It is full of forgiveness. It understands that you need a few chances before you have the right life.” But maybe it’s just something you can appreciate as you get older. Noah Baumbach’s White Noise opens like many so-called super movies: with a movie within a movie. The image of a spinning projector turns into a super car crash. But these images are not “real” accidents; rather, they’re action sequences from other movies, cropped and sewn together to create a tribute to America’s great auto accident. “Don’t consider a car crash in a movie to be an act of violence,” insists Professor Murray Siskind, played by Don Cheadle, in a winking caricature of media studies. He beamed at the sight of fire and twisted metal while a class of passionate MFA students looked up. “No, these bumps are part of a long tradition of American optimism. The film moves away from complicated human passions to show us something fundamental, something loud, fiery and direct…. There is a great spirit, filled with innocence and fun.”
But there is also something intriguing in the chaos. We’re swept up in the excitement of discovering that Toby’s wife, Rachel (Claire Danes), has actually been having an affair, and the excitement of staying up until dawn with Seth, the master’s playmate. Toby bank, played by Adam Brody (who, it must be said, has never looked better). In fact, the best part of Fleishman may have been the women in Toby’s life. When he visits his old friend Libby (Lizzy Caplan), a now-married former magazine writer in upstate New Jersey with her husband and two children, everything is great. But Libby, in her own way, is also wondering how the hell she got here, troubled by the feeling that when you get to a certain age, you look around and everyone has a great life. the same boring life — or at least the same boring life. tank. Toby’s midlife crisis seems almost appealing to Libby, and she’s constantly yearning for her second act. We’ll soon see Libby walking her feet through her old Manhattan stomping ground, and in the midst of her memory montage, her image turns to who Fleishman is actually meeting. trouble: Rachel, a lost soul in gray sweatpants. In episode seven — the most powerful and emotional challenge yet — we and Rachel fall through the magnifying glass, understanding the cumulative process of trauma (the gruesome introduction to motherhood, coupled with the stress increased work and abandoned by her new mistress) led to an insomnia, nervous breakdown.
White Noise’s humorous introduction is a far cry from the cinematic measure of Baumbach, prestigious drama dramas celebrating “complicated human passions” such as Marriage Story, Frances Ha, and The Squid and the Whale, whose director has won critical acclaim like Woody Allen or Gen X Lubitsch’s Ernst. Indeed, White Noise is a completely different cinematic animal, and the first in Baumbach’s career to be adapted from a literary work. It is based on Don DeLillo’s White Noise, a novel that sits somewhere between post-Pynchon speculative fiction and suburban satire. Since its publication in 1985, DeLillo’s work has long been considered uneditable, like Pynchon’s Gravity’s Rainbow and Nabokov’s Pale Fire, with a series of canceled adaptations in his name. it (earlier efforts had been made by Barry Sonnenfeld and James L. Brooks). . But for Baumbach, part of the appeal of visualizing White Noise’s unique, suburban landscape stems from his own vivid memories of the decade in which it was written.
Product detail for this product:
Suitable for Women/Men/Girl/Boy, Fashion 3D digital print drawstring hoodies, long sleeve with big pocket front. It’s a good gift for birthday/Christmas and so on, The real color of the item may be slightly different from the pictures shown on website caused by many factors such as brightness of your monitor and light brightness, The print on the item might be slightly different from pictures for different batch productions, There may be 1-2 cm deviation in different sizes, locations, and stretch of fabrics. Size chart is for reference only, there may be a little difference with what you get.
- Material Type: 35% Cotton – 65% Polyester
- Soft material feels great on your skin and very light
- Features pronounced sleeve cuffs, prominent waistband hem and kangaroo pocket fringes
- Taped neck and shoulders for comfort and style
- Print: Dye-sublimation printing, colors won’t fade or peel
- Wash Care: Recommendation Wash it by hand in below 30-degree water, hang to dry in shade, prohibit bleaching, Low Iron if Necessary
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