A Minor Creative Betrayal Leads to Warm, Obvious Relationship Comedy in You Hurt My Feelings

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A Minor Creative Betrayal Leads to Warm, Obvious Relationship Comedy in You Hurt My Feelings
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A writer discovers her husband doesn't like her book in Nicole Holofcener's warm yet obvious comedy (or is it a novelist's horror movie?) You Hurt My Feelings. JacobOller's Sundance2023 review:

Nicole Holofcener’s abilities are such that, even when her movies bleed past the edges of reality and into zany sitcom conversations—where people explain, in grandiose speeches, exactly what they’re feeling and how it’s thematically related to everything else going on—there’s still something human inside it all. Even when jokes don’t land, their formation feels organic to the situation and characters.

Leads Julia Louis-Dreyfus and Tobias Menzies, playing lived-in, loving couple Beth and Don, are both the unfortunate mouthpieces for much of this over-precise musing and the keen presences making it all the more tolerable. They, and everyone around them, are devastatingly defined as New Yorkers. Beth is a washed-up memoirist half-heartedly teaching at The New School. Don is an increasingly distracted therapist.

Naturally, the thing to do is turn the self-esteem screws on this professionally obsessed enclave: Through a silly piece of contrived eavesdropping, Beth learns that otherwise supportive Don doesn’t like her new novel. In fact, he hates it. Truly, what could be more devastating?ian proportions. The post-dumping diner conversation writes itself.

More than Louis-Dreyfus, who’s still as funny as ever, it’s Menzies who embodies this middleweight bummer of a worldview. Distracted at work, burned out by other people’s problems and constantly asked to be the first-read fan for his wife, Don is wilting. Menzies radiates warmth like a dented space heater, apologetic but still chugging along with a half-smile. He loses track of whose client’s fathers are dead, and whose were abusive. He wonders if he should get Botox.

But funniest are Don’s patients, who get to discard all pretense and simply be punchlines. Amber Tamblyn and David Cross steal each of their scenes as a venomously warring couple, one who eventually finds a common enemy in their unhelpful analyst. Even these funny oases eventually fade, or are obscured with other meandering and oddly structured subplots , in favor of familiar Life Of A Creative navelgazing.

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