Lady Bird (US – 2017)



When the tricky Oscar buzz is at the gate, there is usually one or two Indie contenders. This year, actress Greta Gerwig’s second film as adirector, Lady Bird, falls into such category. It is praised in almost every lists around.

An partially agreeable coming-of-age comedy drama boosting lovable performance by lead actress Saoirse Ronan ( Hanna, Atonement, Brooklyn), Lady Bird introduces us into the world of Christine a young adolescent woman, in Sacramento, year 2002. Bored by how life goes on in her city, she dreams of going to college in NY.

Through one year in the life of Christine we get episodic honest drama and humor with friends, parents, teachers, etc. Nice.


The Oscar buzz for this film is beyond me. We’ve (approximately) seen this before, despite what you can read over the internet, a hundred times. True it is usually with boys story. But as female are concern, see, for example, Norwegian films like Jannicke Systad Jacobsen’s  Turn me on dammit – Få meg på, for faen (2011) or the superb Oscar nominated (Best Foreign Language Film 1997) SøndagsenglerThe other side of Sunday by Berit Nesheim or even American indie favorite Juno (no there is no pregnancy issue, that is not the point).

Lady Bird is episodic, existential and witty at time but without the grit of numerous earlier films basically on similar subjects. It is simply never totally convincing and even a bit pedestrian.  a sympathetic little movie enhanced by Indie top composer Jon Brion’s music.

Why not.






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