One of Gerwig’s cinematic loves that isn’t necessarily immediately apparent from watching her work is the westerns of John Wayne, particularly those he made with Howard Hawks. Gerwig’s also a fan of the legendary musical, naming it as another favorite during her IndieWire and Movies on Demand interview we’re guessing she studied up on the film for those “Barbie” musical numbers. Stanley Donen and Gene Kelly’s beloved musical comedy “Singin’ in the Rain” is the type of film that continues to inspire dozens of directors decades after it was released look to “Babylon” director Damien Chazelle, for example. Image Credit: Courtesy Everett Collection Gerwig proved to be ahead of her time in choosing “Jeanne Dielman” first in 2022, it was named the greatest film of all time by Sight & Sound Magazine’s once-a-decade critics poll. The first feature she choose was Chantal Akerman’s three-hour long slice of life about a housewife’s daily routine, and one of the defining films in feminist cinema. In 2017, while promoting her starring role in Mike Mills’ “20th Century Women,” Gerwig spoke to IndieWire and Movies on Demand about her picks for her all-time favorite movies. “Jeanne Dielman, 23 Quai Du Commerce, 1080 Bruxelles” (1975). Here are 10 films that Gerwig has mentioned over the years as some of her favorites, listed in no particular order. 1 film of all time, Chantal Akerman’s “Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles,” and recognized classics like the heartbreaking British romance “Brief Encounter” and the technicolor musical “Singin’ in the Rain.” But she’s also not afraid to shout out a nostalgic ’80s classic like John Hughes’ “Pretty in Pink,” which helped inspire parts of “Lady Bird.” Her shortlist of films includes Sight & Sound’s current No. Gerwig has a broad taste in her favorite movies, and the works that have influenced her run the gamut from old Hollywood classics to mega-popular teen romances. That said, if you look at the films that Gerwig has shouted out publicly as her influences and her favorites, this specific pairing of director and film starts to make more sense. But those high-minded indies still seem a world away from the studio comedy “Barbie” promises, which makes Gerwig and Baumbach’s co-screenwriting credits on the film intriguing at the very least. She gained more mainstream fame when she began collaborating with her partner Noah Baumbach on films like “Greenberg,” “Mistress America,” and “Frances Ha,” the last of which earned Gerwig her first Golden Globe nod. Gerwig perhaps isn’t the obvious director to choose for bringing the thematically thorny Barbie universe to cinemas before “Lady Bird,” Gerwig was best known as an actor in small, independent films, and her first time in the director’s chair was co-helming 2008’s “Nights and Weekends” with Joe Swanberg. “Barbie” is a colorful studio comedy based on the classic dolls from Mattel, starring Margot Robbie and Ryan Gosling as the titular Barbie and her heartthrob Ken. In July, after an agonizing three year wait and lead role in “White Noise,” Gerwig is coming back to theaters as a director with Twitter’s most anticipated film of the year. Her 2017 coming-of-age drama “Lady Bird” was an instant teen classic upon release, and her 2019 adaptation of “Little Women” received similar rapturous acclaim, becoming the definitive film version of the classic book. She only has two solo directorial efforts under her belt, but Greta Gerwig has quickly become one of the most highly respected filmmakers working today.
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