White Noise (2022): Comedy/Drama/Horror

A family that constantly disagrees on every aspect of life has to escape a major catastrophe, something that will deepen their existential views even more.

Between Film studies that specialise in car crashes and Hitler studies that specialise in… well… Hitler, there is this family that doesn’t stop talking. Men, women, and children alike sound and act as if they came out of Shakespeare’s play or human testing for a new drug. No one speaks or behaves… naturally. Think of it as three unrelated or totally disjoined parts (at best) of the same theatrical that relies heavily on rhythmic montage sequences to match the film’s frenetic and unstoppable verbal diarrhea.

Without getting into too much detail, the comedic part is not comedic enough – maybe, sporadically humorous or caustic. You won’t find yourselves laughing over anything, really. The part that is meant to be dramatic is not really dramatic because of the head-scratching roots that cause the drama. Finally, the horror part comes late(r) to the party, but, even then, it doesn’t stay long, really. Everyone over-philosophising everything through never-ending verbosity leaves no room for processing all this information, and, consequently, developing the intended emotions. Other than that, it doesn’t really know what kind of film it wants to be and its focus is all over the place. Take, for example, the camp Daffodil exodus. Similar sequences of evacuation have been in the past a living nightmare for everyone experiencing catastrophic events, including the empathising audience. Now, compare that sequence to any of the escaping sequences of the War of the Worlds (2005). Any. Escaping. Sequence. The comparison’s outcome leads to parody, and so do these disconnected points of view on literally everything and nothing. Is this what writer/director Noah Baumbach aimed to do? A parody of the American family? A parody of American society? Is that what that pointless musical, in the end, is (not spoiling it, don’t worry)?

Think about it, what happens after the cloud is gone till the end of the film? Nothing. Nothing for absolutely no reason. While I haven’t read Don DeLillo’s novel, solely focusing on the film, leaving the survival mode of the second part behind, all you get in the third part is lyrical nothingness. Who was meant to be the target audience, in other words, who was meant to like it? Horror fans? Nope! People, who need a good laugh? Nope! Fans of existentialism (is there such an audience)? If I were to characterise it in one sentence, I would say that it is an exceptionally well-shot and well-acted bewilderment. Congrats to Adam Driver, Greta Gerwig, Don Cheadle, and the rest of the cast who act so great for whatever reason.

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