For Walter Himmelstein, a young man endearingly known as Putzel, life literally doesn't go beyond his family's fish store on the upper west side of Manhattan. In this heartwarming romantic ... See full summary »
When his wife unexpectedly informs him that she wants a divorce, well-meaning but oblivious husband Otto Wall finds himself thrust back into bachelorhood, where he searches for the real thing amidst a string of one night stands.
On the eve of a looming family reunion, Christian's estranged father unexpectedly shows up at his door asking for help. Despite abandoning the family at the onset of his wife's terminal ... See full summary »
Following the break-up with and imminent divorce from her entertainment lawyer husband David, thirty-something Amy moves back in with her upper middle class parents Ruth and Stan Minsky in Westport, Connecticut. David asked for the divorce following an affair he had with who Amy considered a friend. Knowledge of the affair and David asking for the divorce came out of left field for Amy, who thought she had the perfect marriage. In her surprise and shock about David, she left David basically with the clothes on her back, and has not asked for anything in the divorce settlement. Three months later, she is still in a depressed state, not leaving the house and not knowing what to do with her life. She has no real job experience, has only a liberal arts degree, and abandoned her Master's degree studies in Photography to marry David. She believes her parents have mixed feelings about her return. Although they have both welcomed her back, she believes Ruth is critical not so much about what ... Written by
Much lighter and funnier than the synopsis makes it sound
Hello I Must Be Going doesn't really question the morality or credibility of its central theme -- romantic relationship between a woman and a man where she is almost a couple of decades older. The film cleverly escapes the creepiness surrounding it and actually ends up being very funny. It should be attributed to screenwriter Sarah Koskoff's unabashed celebration of the positive effects that sexual human contacts have on one's spirit, and female lead Melanie Lynskey's depressed yet oddly optimistic portrayal of the 30-something divorcée. For a Sundance Lab product, which often tends to be just dark and ambiguous, this is somewhat a refreshing change of tone.
The only indie cliché this film resorts to is the background of its main characters, who are all connected to filmmaking. However, this convenient setting on the filmmakers' part is not a real problem with the film, as there is a tangible character development of a woman slowly reopening to her senses, which should easily resonate among general audiences. All in all, this is an easy-to-follow indie with no ambiguity that makes your head spin. It clearly has adult contents with a few f-bombs, but nothing too graphic, and offers a pretty relaxed and enjoyable narrative.
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