Fincher luxuriates in depicting the old studio system of Golden Age Hollywood, but he doesn't don rose-tinted glasses for the era itself – zoning in on the cracks, inequalities and concerns of the '30s and '40s movie industry (and beyond), while tapping into resonances that still feel surprisingly relevant today (Nazis, the future of cinema). Mank is part origin story of, part companion-piece to Orson Welles' classic Citizen Kane – starring Gary Oldman as Kane's alcoholic screenwriter Herman J.
Six years after Gone Girl, David Fincher returned to movies with a film delving into the history of Hollywood itself. That it's warm and funny too, with believably messy but empathetic characters, make it a must-see. That Saint Frances plays out both of these storylines concurrently without conflating the two (spoiler: Frances doesn't suddenly regret having an abortion after she bonds with Bridget) feels quietly revelatory – and the film has a similarly straight-up approach to its depictions of post-natal depression, motherhood in same-sex relationships, breastfeeding, and periods. Meanwhile, she finds out that she's pregnant by her sort-of-boyfriend Jace (Max Lipchitz) and decides to have an abortion, facing the physical and emotional aftermath of the procedure. She plays Bridget, a New Yorker who becomes nanny to mischievous six-year-old Frances (Ramona Edith Williams) – even though she doesn't really like kids. Kelly O'Sullivan confirms herself as a witty and honest new filmmaking voice as the writer and star of Saint Frances – a film that pushes the 30-something-woman-wonders-what-to-do-with-her-life American indie drama into refreshing territory rarely explored on screen.
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