In the world that Nicole Holofcener paints, women hold the power and the issues that power cause: conflicts, repercussions, and so forth. She doesn’t shy away from social friction in the daily life of womanhood. We see this in many of her films: Enough Said and the clumsiness in dating within your own circle of friends and acquaintances, the emotional endeavour that families go through in Lovely & Amazing, and of course Friends With Money and how the class difference in your surrounding causes insecurity and envy. This is one of Holofcener’s many qualities that she brings out into the world of American cinema. By mixing the comical aspect of surviving with the midlife crisis, she is able to pinpoint the deepest desires in every human being. She does it with an easiness and relatability that mirrors our luxurious aspiration in life.
In The Land of Steady Habits, she studies the life of a man in the midst of a crisis. Ben Mendelsohn stars as Anders, a middle-aged individual veering through the struggle of divorce, retirement, and losing the hegemony of parenting. Distancing himself from his ex-wife Helene (Edie Falco) and his son Preston (Thomas Mann) didn’t do much justice to his newfound freedom. The first shot of the film already captures the confusion of his life now, as he saunters through what looks like Bed, Bath, and Beyond on a shopping spree. Stacks of colorful towels intimidate him somehow. What he wants is to be in charge of the search for his own happiness, which is okay. But for him, this comes with consequences – emotional baggage, a fully realized sense of emptiness, and series of impotency. The tedious tasks of being a divorcee, like decorating his own place, now seems like a chore – a departure to what he thought he wanted, of what he dreamt of before.