White Noise movie

Baumbach's last film, the critically acclaimed divorce drama Marriage Story, was nominated for Best Picture in 2020 before the world shut down. It gave Netflix ...

Overall, Baumbach stretches everything he could possibly imagine doing in a film and takes the biggest swing of his career with this one. In fact, some of the best things about this film is how Baumbach utilizes his increased budget this time around to create a second act that has action stunts and set pieces that feel more early Spielberg than Baumbach’s previous work. It’s all a part of avoiding what confronts us all the time. It also gave us one of the best “memed” movies of that year, complete with arguing velociraptors. Based on the U.S. With projects like David Fincher’s The Killer & George C.

Filmmaker Noah Baumbach adapts Don DeLillo's “unfilmable” satire tackling Hitler, Big Pharma and consumerism for Netflix, streaming Dec. 30.

You’d have to expect as much from a movie so committed to evoking an era of movies that belonged to the movie brats and their peers. They aren’t always DeLillo’s ideas, to the extent that this is even a reasonable expectation. Whether talking to his precocious kids or his colleagues, Jack and the other characters swap bits of insight like so much product, dallying in neat, smart-sounding summaries of the world that will nevertheless bring them no closer to making peace with the inevitable. What Baumbach basically gets right is that none of these goings-on, none of what a lush, consumer-forward, aspirational era has to offer, is enough to make up for the fact that we will all die anyway. His wife, Babette ( [Greta Gerwig](https://www.rollingstone.com/tv-movies/tv-movie-features/how-greta-gerwig-turned-the-personal-lady-bird-into-a-perfect-movie-126300/)), is a bubbly woman with a bubbly name, crinkle-curled half to death, with enough smarts to keep up with Jack and enough of a handle on reality to seem comparatively normal. I admire that willingness to glory in these big gestures, even as the movie that results can feel like a mix of vibrant and unexpected approaches to the material paired with the dreary, misshapen delirium of incomplete ideas. The kind of world in which a scholar of Hitler can lord his performative authority over his audience in the way that Hitler did, leaning into his own mesmerism, proving a point about charismatic fascism while convincing himself that he is no fascist. A simple matter of marital infidelity can aspire to the broad importance of a pharmaceutical conspiracy — a way of feeling connected to history while nevertheless navel-gazing, zeroing in ourselves. (He’s working on it.) He is, among other things, a man with [Hitler](https://www.rollingstone.com/t/hitler/) on the mind, sharing with that monster a penchant for public performance, for taking his audience to church, in his own way. There was the prolonged and argumentative death of a marriage, on one hand, and another throughline — the much more interesting strand of the movie — about the cruel legal maneuvers of their divorce proceeding, populated by lawyers and their talent for seeing people not as people, but as clients, bit players in some grotesque, lucrative game. Baumbach’s take on the novel — which, thanks in part to the movie’s sizable budget, qualifies as the director’s biggest and most ambitious movie to date — is flawed. [Noah Baumbach](https://www.rollingstone.com/t/noah-baumbach/) up to in [White Noise](https://www.rollingstone.com/music/music-news/lcd-soundsystem-new-body-rhumba-white-noise-noah-baumbach-1234582828/)?

Noah Baumach's adaptation of the beloved novel is streaming on Netflix now. By Josh Zajdman Published: Dec 30, 2022. white ...

What it is and how it’s dealt with is just one facet of the story. Let’s hope that the adaptations of Libra, Underworld, and The Silence come to fruition. You have to read it and you have to read it before the forthcoming Netflix adaptation. Thrillingly, it’s also the work that is ushering in a new era of appreciation and attention for DeLillo from some unexpected corners—namely, Netflix. But, then there is White Noise, a modern classic if ever there was one and the book that DeLillo is arguably best known for. Deftly taking the reader from the Cold War to the turn of the century (and back again), Underworld is about everything and the way it’s all connected and how we too are all connected.

Why does Netflix's adaptation of the Don DeLillo classic end with a dance sequence in a supermarket? Director Noah Baumbach breaks it down.

“I’d like to think it captures that sense of the absurd that I loved about the novel.” “But when I saw the movie, I was like, ‘Oh, I guess this makes sense.’ ” “With the dance itself, I don’t know that I ever fully understood what it was and why we were doing it,’ ” Cheadle says. “We had people come in off the street and just grab a shopping cart and start going up and down the aisles,” Gonchor says. “I had to provide a space that the dancers could tell a story through, using the aisles and shopping carts, with enough room to film a beautiful sequence.” “Some of the products in there were actually real — you’re like, ‘Why is this real meat?’ But the scope of it was amazing.” “I reached out to James while we were shooting and I told him I’d like him to write an upbeat song about death,” Baumbach says. “Even when it’s not an entertaining dance number, I like to have that time to just sit with the experience at the end of a movie. I don’t want to be immediately engaging in the meaning and saying, ‘What did you think?’ I want some time to just sit with the feeling.” “There is agitation and panic in the aisles, dismay in the faces of older shoppers,” DeLillo writes. I went to a lot of supermarkets with a different sense of observation, thinking, ‘What was Don DeLillo saying?’” Animated films like “Shrek” or “Despicable Me.” Even the odd raucous comedy like “The 40-Year-Old Virgin.”