Nicole Holofcener, an American director and screenwriter, has established herself as an unrivaled auteur of observation who is skillfully attuned to human weaknesses. Holofcener’s six feature films are highly realistic and character-driven. Her films often deal with the discreet, peculiar interpersonal problems of upper-class people. What makes Holofcener distinct as a director is her fine eye for the minute details of life as it is. She is unafraid to portray the weaknesses and imperfections of her characters. Most of her films, including Friends with Money, Enough Said, and Please Give, focus on female leads, except for her latest film, The Land of Steady Habits, which has a male protagonist. This film conveys a despondent darkness and a more subdued cast compared to her other films. Nonetheless, Holofcener’s talent shines all throughout the film, as it is modestly beautiful and piercingly authentic.
The Land of Steady Habits tells the story of Anders Hill (Ben Mendelsohn) who leaves his job and his wife (Edie Falco) in an attempt to escape a life of monotonous structure. These decisions mistakably lead him down a midlife crisis as he is quickly faced with his disconcerting and lonely reality. Anders’ 27-year-old son, Preston (Thomas Mann), struggles through a post-college crisis after his stay in rehab. Preston’s past troubles are seen in Charlie (Charlie Tahan), the disillusioned, drug-addicted teenage son. Anders befriends Charlie which sends him down a path of reckless and deplorable behavior.
Thanks to Holofcener’s direction, the actors breathe life into a seemingly simplistic and composed film. Holofcener’s keen eye for intensely observed moments of social awkwardness and surprising connection is refreshingly amusing. Additionally, the actors’ lines often sound improvised, spoken without the predictable delivery of many major films today. It is this endearing realism that completely sucks the viewer into the film. In Holofcener’s world, no detail ever seems to go unnoticed. This is exemplified especially in her direction of the opening scenes. The film opens with the eccentric image of Anders facing a massive wall of color-coated towels in Bed Bath & Beyond. “I’m looking for things to put on my shelves,” he blandly explains to a saleswoman. His look of frozen uncertainty as he stares at the vast exhibition of towels foreshadows the various dilemmas that impact him throughout the film.
Although Anders is not a typically agreeable character, Holofcener’s proficient direction causes the viewer to care for him, wanting him to turn his life around. Anders is in the midst of a crisis as a man who slowly discovers the cost of removing himself from the large web of his friends and family. Yet, Holofcener still prefers a controlled performance without any dramatic gestures. She observes the insipid, self-sabotaging man’s every disastrous move with a generously compassionate approach by preferring an understated performance. This subtle acting forces the viewer to pay close attention to the film and pulls them into Ander's world. Moreover, Holofcener infuses the character with an awkward and self-aware charm and dry sense of humor; this moderates his frequently self-centered actions throughout the film.
Holofcener’s rigorous sense of taste and control can sometimes feel a bit infuriating to watch, particularly in the film’s climax at an unpleasant Christmas Eve dinner. Sophie and her husband, Mitchell (Michael Gaston), think that Anders had a role in Charlie’s downfall, though Holofcener cuts the parents’ confrontation with Anders short, just as it becomes violent. Although a lengthy fight would disrupt Holofcener’s understated theme, the film could have benefited from a touch of melodrama in the climax which would have broken the story apart.
While the first half of the film sometimes struggles to find a core through its exploration of Holofcener’s usual themes, the film finds a richer focus in its second half when Preston and Charlie move to the center of the story. Holofcener highlights the exploration of the difficulties of parenting and being parented, as Anders is unable to help either one of the men. Holofcener depicts the character as someone who is unsuited for fatherhood. The character begins to notice the foibles in his self, which causes him to despise himself. This is seen through his increasingly subdued acting as the film continues. Additionally, Anders and Charlie strike up an odd yet moving friendship, and the choice of whether to treat Charlie as a friend or a child causes Anders to struggle with his identity. Anders’ reprehensible actions cause him to question who he is as a father and, eventually, who he is as a person. This moving relationship is one of the many relationships that Holofcener successfully explores with complete honesty and vulnerability. Time and again, she chooses to completely nail the way people actually are rather than seek extravagant alternatives. Holofcener’s fine eye for the faults of modern life makes her one of the most significant and endearing auteurs of our time.