Adam Driver, Don Cheadle, and Greta Gerwig starred in Noah Baumbach’s ‘White Noise,’ now streaming on Netflix.
The supermarket recharges us spiritually.— Netflix (@netflix) December 30, 2022
A Noah Baumbach Picture, White Noise is now on Netflix. Starring Adam Driver, Greta Gerwig, and Don Cheadle — featuring the original song “new body rhumba” by LCD Soundsystem. pic.twitter.com/aG7Lr786gA
Adapted from the 1985s novel of the same name by Don DeLillo, White Noise is a 2022 absurdist comedy-drama movie created for the screen and directed by Noah Baumbach. It is Baumbach’s first motion picture that he still needs to write or co-write. The movie’s leading actors are Don Cheadle, Greta Gerwig, and Adam Driver. The drama, which takes place in the 1980s, follows a family after one of their homes suffers from an air contamination event.
White Noise made its global premiere on August 31, 2022, at the 79th Venice International Film Festival. It was distributed in a few theatres on November 25, 2022, before being streamed via Netflix on December 30, 2022.
Critics gave the movie largely favorable reviews, praising Driver and Gerwig’s acting and Baumbach’s screenplay and direction.
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When a hazardous airborne event sweeps through their community, the Gladney family’s world is turned upside down. The Gladneys must find their way ahead in this strange and terrifying world where death is just a raindrop away with the help of Murray, his coworker, and his friend (Don Cheadle).
But in the big picture, these are different from what the movie is about. These incidents serve as glasses through which White Noise muses on the fear of dying, serving as both the film’s central theme and inspiration.
Each character stands for a specific approach to answering this question, or in some cases, for even being aware that such a topic is possible. Because they are immersed in this cerebral activity, anyone expecting any sense of humanity realism would be disappointed.
Despite this, the actors give each character enough depth of being that you believe they are genuine, even if only within the context of the movie. These characters are specters from fever dreams that feel real because of their surroundings; each one is just as ludicrous as the next.
Together, Cheadle and Driver give both of their scholarly arguments a vein of self-deluded conviction; this makes their satire effective because it makes you believe in the characters.
The specters disappear after the bubble explodes, leaving you with nothing except the ridiculousness of it all. With all of this going on, it isn’t easy to see the movie being anything but exasperatingly postmodern.
White Noise, mainly through Babette, nearly makes up for this irritation with its intensely personal examination of what it means to be human. Gerwig portrays a lady who could be any of us with her deadpan yet doe-eyed resiliency.
For anyone familiar with the pastoral American campus scenery and the intense sensory overload of an A&P supermarket, the attention to detail in the costuming and production design is exceptionally immersive and transportive (both of which your author is).
Although it has elements of 1980s Americana in terms of color and style, capitalism serves as a tonic for our impending immortality. The permanency of materialism.
Whether or not you’re willing to submit to the limitations of White Noise’s storytelling universe will determine how much you enjoy the book. It’s equally valid not to want to do something as it is to fall in love with it. However, those who allow themselves to be drawn into this cinematic thought exercise will leave with much to discuss. A sense of having witnessed something extraordinary, even if it didn’t always make sense.