Film critic Dana Stevens reflects on the tropes of family films during the holiday season, particularly the prevalence of 'bohemian movie families' and the archetypes they often portray.
film critic Dana Stevens emails with fellow critics—for 2024, Bilge Ebiri, K. Austin Collins, Alison Willmore, and Odie Henderson—about the year in cinema.A great thing about catching a cold in December, as a critic, is that it’s a perfect time to play NyQuil-induced catch-up with all the screeners I’d yet to watch.
Cynthia Erivo is as good as everyone says inis emotionally satisfying—but it made me lament a world in which even a robot has to have her programming overridden by the American social imperative to be a “mother.”is a worthy reminder of what the old internet, the internet of my own upbringing, used to feel like: communal, social, mysterious. Sickness during the holidays, for me, is also a time to get reflective, and over the past few days I’ve been thinking a lot about the ways our reception of movies is often beholden to our own, very immediate contexts. For example: Like clockwork, the onset of the holidays has inspired a lot of talk online about “holiday movies,” and recently, I kept seeing references toStone family …” Pause. Remember bohemian movie families? Remember when every family ensemble picture seemed to be set in Connecticut or upstate New York: tree-lined streets, big houses, Midwestern family values underwritten by East Coast money? And the archetypes these films dwelled on: the former-hippie boomer parents (for which Diane Keaton remains the perfectly loopy avatar); the litter of Gen X adult children saddled with sellout anxieties, late-blooming romances and careers, and either a lack of money and direction or an emotionally alienating abundance of both, with all of it playing out among that overwhelming clash of textures and fabrics that make a house—the family home—loo
HOLIDAY MOVIES FAMILY FILMS BOHEMIAN MOVIE FAMILIES GEN X MOVIE TROPE
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