Elle breaks up with her girlfriend Olivia when her granddaughter Sage appears unexpectedly and asks her for money. They end up spending the day visiting old friends, which will make some secrets from the past come to light.
Grandma opens with a quote by Eileen Myles (“Time passes, that’s for sure”) followed by a card with the word “endings.” This way, we can get to know Elle before her being introduced to us. The episodic division has a literary connotation that reveals this misanthropic woman turns words into her allies during confrontation. After losing her wife, she locks herself up at her home and moves around detached from her environment. Likewise, time goes by for Sage, the teenage granddaughter who knocks on her door to pose an urgency –she is pregnant and needs money for an abortion. The breakdown of stereotypes has the sharp clash between Sage and her grandmother as its root. The latter has no money, but she does own a ‘55 Dodge that will allow them to embark on a road trip in order to solve the conflict. From a café that used to be a clinic to a devalued edition of The Feminine Mystique, it is during this journey that Elle comes out of her bubble and acknowledge that her past life hasn’t represented her for a while. MA
D, G: Paul Weitz F: Tobias Datum DA: Cindy Chao, Michele Yu M: Joel P. West P: Paul Weitz, Andrew Miano, Terry Dougas, Paris Latsis PE: Stephanie Meurer, Dan Balgoyen, Danielle Renfrew Behrens I: Lily Tomlin, Julia Garner, Marcia Gay Harden, Judy Greer, Laverne Cox
Sony Pictures in Argentina. Cecilia Chiappano E firstname.lastname@example.org W uip.com.ar
He was born in New York in 1965. He started working in films along with his brother Chris, with whom he has co-directed three films: American Pie (1999), Down to Earth (2001) and About a Boy (2002). Among the films he has directed independently are In Good Company (2004) and Little Fockers (2010).