“At any given time, she’s playing 30 or 40 things in a scene, which allows her to be likable and unlikable, incompetent and very skilled. “There are 1,000 layers to Julia,” he says. I knew she had it in her to do the drama in ‘You Hurt My Feelings’ - to really fall apart.”ĭavid Mandel, a writer in the “Seinfeld” room and latter-day showrunner on “Veep,” agrees that Louis-Dreyfus’ comedy is unusually nuanced. “Don’t tell her I said this, but she can do funny and sad at the same time. “She’s pretty much right for most things,” the director says.
Holofcener is not surprised that Louis-Dreyfus is out there with such a mix of art-house and blockbuster fare. Louis-Dreyfus’ giddiness is understandable, given the curveball Marvel represents at this point in her career. “When I first started shooting, I had to go to set wearing a black cloak with a hood and keep my head down so nobody could see it was me walking onto the soundstage.” While the character has been teased in multiple Marvel projects, she’ll have her biggest showing to date in the upcoming “Thunderbolts,” which begins shooting in June. “There’s so much secrecy around it,” she half-whispers with glee. Louis-Dreyfus wiggles with excitement as she discusses her character, the nefarious Contessa Valentina Allegra de Fontaine. Then, of course, there’s her gig in the Marvel Cinematic Universe. After “You Hurt My Feelings,” there’s “Tuesday” (a trippy, adult-skewing fairy tale about a mother and a daughter) from A24, as well as the Jonah Hill rom-com “You People” from Kenya Barris and Netflix that’s coming Jan. That’s reflected in the array of films she will appear in over the next two years. “You Hurt My Feelings” director Nicole Holofcener and her muse Ryan Pfluger for Variety The irony of casting Louis-Dreyfus in this part is that, at 62, she has never been more professionally emboldened or secure in her work and life. The members of the ensemble are all on a trajectory colliding with an awful truth but fight against it to preserve happiness and dignity.
Her sister (Michaela Watkins) skillfully helps Beth work through the pain, maybe because she has her own flailing-artist husband in Mark (“Succession” breakout Arian Moayed), a perpetually rejected actor always on the verge of getting a real job. They’re the couple who eat from the same bowl and consult one another on the smallest of decisions, to the horror of their only child (Owen Teague). But before his overheard criticism of her work, their lives were filled with quiet, co-dependent harmony. Her husband, Don (Tobias Menzies), isn’t exactly setting the world on fire as a therapist. In “You Hurt My Feelings,” Louis-Dreyfus’ character struggles with a lack of confidence in herself and then, after the betrayal, her marriage. “Enough Said” also came as a sort of promise to her fans that she might dive into a medium she’d largely avoided: the movies. The film earned Louis-Dreyfus some of the best reviews of her career. Holofcener, a master of creating sharp characters whose intelligence is clouded by anxiety and obsession, and Louis-Dreyfus, an actor who has never shied away from mining humor from neurosis, proved a blissful match. That film - a love story - allowed Louis-Dreyfus, best known for her broadly comic roles, to flex some dramatic muscle as a massage therapist who becomes involved with a fellow divorcé. The occasion of “You Hurt My Feelings” is a long-awaited reunion for Louis-Dreyfus and Holofcener, who collaborated a decade ago on “Enough Said,” with the late James Gandolfini. Now, in the process of trying to sell her first novel, she overhears her husband talking trash about her work - words that conflict with the blind encouragement and praise he’s offered her for years. Directed by indie stalwart Nicole Holofcener, the film follows Beth, a writer whose memoir about the verbal abuse she suffered at the hands of her father was relatively well received. But do we want to hear the truth? That question is at the heart of Louis-Dreyfus’ new film, “ You Hurt My Feelings,” an examination of the limits of brutal honesty that is set to premiere at this year’s Sundance Film Festival. Everyone longs for the support of family and friends. It’s easy to relate to Louis-Dreyfus’ hurt feelings after her father’s tough words. Maybe this is the reflex of a person who’s done hundreds of interviews, but more likely it’s just proof of how deeply she knows herself. The harder she is pushed and prodded on sensitive issues - her cancer diagnosis, the high-wire act of comedy and political correctness - the more confidently she volleys back with assured and concise responses. She is as well spoken and polished as a politician and yet she seems truthful, genuine. Louis-Dreyfus does not fumble her sentences or search for words.
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