Black Bear

Cast & Crew

Aubrey Plaza

Allison

Christopher Abbott

Gabe

Sarah Gadon

Blair

Lindsay Burdge

Maude

Alexander Koch

Mike

Paola Lázaro

Cahya

Jennifer Kim

Nora

Shannon Patricia O'Neill

Simone

Grantham Coleman

Baako

Lawrence Michael Levine

Director

Lawrence Michael Levine

Screenwriter

Jonathan Blitstein

Producer

Richard J. Bosner

Producer

Julie Christeas

Producer

Marina Grasic

Producer

Jai Khanna

Producer

Lawrence Michael Levine

Producer

Aubrey Plaza

Producer

Sophia Takal

Producer

Andrew Chang-Sang

Executive Producer

John Hills

Executive Producer

William G. Santor

Executive Producer

Robert Leitzell

Cinematographer

Matthew L. Weiss

Film Editing

Giulio Carmassi

Original Music

Tracy Dishman

Production Design

Jennifer Durban

Set Decoration

Allison Pearce

Costume Design

Henry Russell Bergstein

Casting

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News & Interviews for Black Bear

Know Your Critic: Angelica Jade Bastién, Critic at Vulture/New York Magazine

Indie Fresh List: Black Bear, I’m Your Woman, and Another Round

Holiday Movie Calendar 2020

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Critic Reviews for Black Bear

Audience Reviews for Black Bear

• Jan 06, 2021

  What an intriguing little movie Black Bear turns out to be that inspires so much interpretation and dissection. I spent time reading through different interpretations on Reddit about writer/director Lawrence Michael Levine's (Always Shine) surreal indie, each one providing new insights and connections. It all just made me realize even further how intriguing and rare a movie like Black Bear can be, an accessible puzzle that still works outside of the guise of sifting the pieces for larger meaning. Allison (Aubrey Plaza) is a director who is looking to rebound her career. She takes a retreat to a bed and breakfast out in the woods run by a husband and wife Gabe (Christopher Abbot) and Blair (Sarah Gadon). There's a lot of tension between these two and perhaps some unwanted romantic advances toward Allison. Then the movie changes, and now Allison is an actress in a movie filming at the same cabin in the woods. Gabe is now her director and her husband, and Blair is now the co-star that she suspects is having an affair, both with her real husband and the husband character in the movie they are making. Things get a little weird from there. There are really three primary stories here: 1) Allison sitting on the dock and then trying to write, 2) Allison coming into the realm of a dysfunctional married couple and adding extra jealousy and combustion, and 3) Allison is starring in an independent film that appears loosely connected to the second story, and this time she is being manipulated by her director/husband into thinking he is having an affair in order to add more realism to her screen performance. From there, the movie invites you to build your own connections from its many surreal parallels that fold onto one another begging for discussion. Is the second story what really happened in real-life to Allison and then the third story is the film version of these events, with the roles swapped for greater personal anguish? Is the third segment what really happened in real life and, in her anguish, she has projected her hard feelings into her own movie version of her torment, achieving a delayed vengeance? Are both segments mere fictional accounts from Allison in the first segment struggling through serious writer's block? Dear reader, I cannot say because any of the interpretations I have cited, and many more, would be valid with enough careful corroborating evidence. I was delighted to read new takes. Part of the movie's fun becomes building the meaning and finding more hidden clues after you're done with it. The second story plays like an identifiable mumblecore indie and one of the most awkward dinners you'd never want to be part of. Allison becomes the catalyst that pushes the husband and wife to open up their mounting disagreements and simmering conflicts with one another. He's feeling like he's compromised too much as an artist who still wants to be considered an artist, so he seeks a solidarity with their guest. She wants to bring a dash of reality to Gabe's sense of self, which includes pushing him to adapt rather than holding onto a version of himself that no longer fits. Blair also seeks solidarity from a fellow woman to call out Gabe's questionable viewpoints where he says life was simpler and perhaps better when gender norms were rigid. The night starts out amenable but ratchets up the discomfort moment by moment, opening up the characters and their histories and looking for allies through a cross-section of confrontation. We're put in Allison's position and different people might find fault with either husband or wife. Allison seems to enjoy being contrarian, admitting she was even lying about key points just to get or stifle a reaction from the others. As the night wears on, you worry mistakes will be made. The third story is about twice as long and has multiple times the participants. Whereas the first film is a tightly wound threesome, this new story involves a small family of indie filmmakers. You start to notice repetitions and your mind begins to form potential connectivity. Allison is now starring in a movie directed by her husband, Gabe, who is carefully constructing a cruel ruse that he is engaging in an onset affair with her co-star, Blair. In the previous story, Allison was the interloper and thought to be the homewrecker, and now in this tale Allison and Blair have swapped positions. Gabe's rationale is that he is pushing his wife to give the best performance of her career, where her powerful emotions will feed the role of the jealous wife breaking down. It's blatant manipulation and again I was growing in fear that this was going to build to something calamitous and that a misunderstanding could have tragic, possible fatal results. The third story calls into question the complicity of artists when it comes to abusive behavior. Everyone benefits from Allison delivering a headline-grabbing comeback performance, their careers get a boost, and yet the torment she goes through is undeniable and it sure doesn't feel justified for the sake of art. Despite an amusing and diverse ensemble of the film crew, this is really a three-person movie and Plaza (Child's Play) is the constant. For those saying Plaza will only be able to play some variation on her famous sarcastic, detached persona, I happily invite you to watch Black Bear because she is capable of so much more. The second story, the mumblecore version, is playing upon the kind of role we're used to seeing from Plaza, which I must think the filmmakers anticipate. That's why the next version either deconstructs it or perhaps contrasts it. With the third version, Plaza digs deep and unleashes some startling dramatic outbursts, enough that the crew feel entirely uncomfortable and perhaps a little guilty over how far things have gone. There are moments with Allison breaking down that reminded me of like Gena Rowlands in a John Cassavetes movie. There's an extra meta layer to the performance where if you argue Plaza is going bigger than she should, well perhaps that is her portraying an actress who is modeling her breakdown after depictions in movies and award-caliber movies. Had I watched Black Bear mere hours before I handed in my critics' nominations, I would have found a place for Plaza on my shortlist. I invite you to watch Black Bear and join the discussion. It's well written and engaging from moment-to-moment, so even if you don't care about larger textual connections you can still enjoy yourself watching interesting characters simmer and explode. If your mind does enjoy rearranging the building blocks into more meanings, then the movie becomes even more fun. It's also just a great showcase that proves Plaza is more than an actress stuck playing snide comedic roles. Seek out Black Bear, read other interpretations, and then craft your own. Nate's Grade: B+

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  nathan z Super Reviewer