The rare Gerwig film that didn't work for me, AT ALL.

Another mumblecore dramedy which is mostly annoying.

Wish we could have seen more of our protag's creative / professional life! Can't believe we got to the end of the film with intimate knowledge of all of her boyfriends but little understanding of what she actually did for a job every day. Mumble core as always too raw too real too narrow focused.

This is so-called mumblecore film about the hardships of finding a suitable mate Joe Swanberg puts Greta Gerwig (Hannah B.) between three men in her effort to a romantic fulfillment. Although the movie is obviously made on a low budget it succeeds in a way to communicate the psychology of the young woman as she 'mumbles' her way towards personal happiness.

Just like a video a bunch of college boys would make of themselves, so I couldn't get into it.

A very representative mumblecore movie, with meandering story, aimless characters, and a self-discovery angle that captures most of the interest of the filmmakers, if not the audience.

This is how it feels. THIS is how it feels.

It starts to do something noteworthy but then gets stuck. It tries to rely on realism and does a great job a times But the interactions seem forced and unnatural too often. They did a great job with what appeared to be a minuscule budget.

Its testament to Gerwig's talent that Hannah is appealing despite being arguably the most unlikable character she's ever played. The film itself has a quiet charm which creeps up on you unexpectedly but overall the experimental and improvised feel may throw some viewers off and even at a compact 83 minutes the film does start to lag at the half-way point but admittedly things do start picking in the third act.

Watching this film, I felt like it was one of the worst movies ever created. But looking back on it, it wasn't as bad as I made it out to be. Because at its heart was a true engaging story. If it hadn't been bogged down in tedious scenes it would have been a more-than-decent- film.

An unusual movie for which it is worth listening to the commentary to learn how the movie was made. It is virtually all improvised with the "script" being very malleable throughout the process. In some sense the movie's strengths and weaknesses reflect the process. Some scenes ring very true -- with the actors speaking like real people and the audience recognizing the moments. However as a whole the viewer is baffled by the purpose of the movie. One wonders if the movie is toying with us. Greta Gerwig is sensational as the palindromic Hannah, who picks up and discards relationships seemingly without any sense of the damage she inflicts. All of the major actors are filmmakers themselves. Mark Duplass & Kent Osborne are funny, touching, & believable as two of Hannah's paramours. Gerwig & Osborne get credit as cowriters with Swanberg.

This movie ends with a naked man and woman sitting in a bath tub full of water each playing a tuba...really

Mumblecore always puts me in a weird mood. This was better than I expected.

Its like a movie a bunch of friends made for a bunch of friends.

Joe Swanberg shows up "mumblecore"'s king, Andrew Bujalski, with a nice change of pace to the "super indie" genre. He puts in characters that move beyond extended awkward conversations with their "um"'s and "uh"'s and show real feelings. And it's done in such a voyeuristic way that he seems to have made what could years from now be known as the best statement of this mini cinema movement. Greta Gerwig, who would inevitability cross over to the mainstream, gives the movie it's heart and vulnerability.

Pretty funny mumblecore tale of a girl burning through relationships. Very subtly strong ending. The guys are such bitches though, grow a spine, seriously.

Ultra low-budget and talky slice of life about a series of 20 somethings trying to get their feet off the ground, professionally and romantically, while remaining true to themselves. Greta Gerwig is Hannah, a temp screenwriter for an independent television production company who dumps her lazy boyfriend and begins to experiment with two fellow co-workers, both equally as befuddled on how to proceed with the aggressive, emotionally flighty, pretty girl. This is obviously a labor of love for director/writer/editor/cinematographer Joe Swanberg, and it's apparent that these dudes aren't the only ones who don't know how to handle Hannah, for Swanberg's camera, at times jittery, at times unbroken and stationary, looks on her with a naked eye that borders on obtrusive. It's all super realistic, improvisational, and indie precious, and if that equals tedious, so be it.

The only scene done well, and worth watching, is toward the end when Hannah and Matt converse about their respective problems in life. Everything else is mostly frivolous, inconsequential, and incredibly awkward.

20 somethings trying to figure out what they want in life, what they care about, and what kind of person they'll end up with. It's a little painful to watch, especially because I can identify with wanting something intensely and being sick of it the minute you get it, realizing "oh, this is not it." Greta Gerwig is perfect as Hannah.

Regarding Greta Gerwig, who writes, acts, and even plays trumpet in this film: No female actor has ever reminded me so much of Marlon Brando in her reliance on naturalism -- which is, as we know, the greatest artifice of all, and the most difficult to pull off. I don't want to give anything away, but Gerwig even seemingly acknowledges her debt to Brando here, inventing a bit of business at one point in the film that comes right out of "The Godfather," when she playfully puts something in her mouth that could be Brando's cotton balls and/or the sliced orange peel in the garden death scene. And the same can be said of the writing in this film -- it's almost 'non-writing' which, in order to pull off (as I think they do -- but that is the question that will obviously split viewers and critics), is as incredibly difficult to do successfully as the acting. This is an incredibly modest film -- insular, with only a few roles, and less 'plot' rather than 'scenes' that do, in fact, reveal character and change over time. If it weren't for the compelling performances, the heartbreakingly realistic emotional struggles of the characters, and the wit and ingenuity of the dialogue and the setups, it wouldn't work. But it has them all, and mostly, it has Greta Gerwig, who has an uncanny sense of how the camera sees her, and seemingly totally un-self-consciously uses that to her -- and our -- advantage.