Person to Person

Follows a variety of New York characters as they navigate personal relationships and unexpected problems over the course of one day.


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  • ★★★½ review by davidehrlich on Letterboxd

    Dustin Guy Defa’s “Person to Person” is a gentle summer breeze of a movie that’s set during an early fall day. Amiably unstuck in time without feeling anachronistic, Defa’s second feature pulls off the trick of offering an analog version of New York in a digital age. Threading together enough vignettes to compete with a young Paul Thomas Anderson, Defa bounces between a motley crew of characters, all of whom are living together on their own time. On their own, they don’t add up to much, but play them together and they cohere into the cinematic equivalent of vinyl.


  • ★★★½ review by Ben Scanga on Letterboxd

    Why am I so bad at this?

    At what?

    Getting people to like me...

    Mumblecore is and always will be my favorite sub-genre. Person to Person is one of the most interesting films of the year, mainly because Dustin Guy Defa does an exceptional job at making everything feel so real and organic. It's almost like you aren't watching a film and you're just watching a handful of characters living out their day in New York while navigating the struggles of daily life... Hell, that's exactly what you're watching.

    And we also get to see Michael Cera play something other than a typecast which is pretty great and I must say, the man can do a damn fine job with variety

  • ★★★½ review by Michael Sicinski on Letterboxd


    An utter delight. A film that probably shouldn't work. It's all over the place yet disciplined. It projects a sense of cool indifference about its characters and its plotlines until you realize that everything was worked through to the very end, and everyone depicted in the film was shaped with great affection. You think all the stories are going to intersect. You worry. Then you suspect that none of the stories will actually intersect. You're relieved, even if that leads to a feeling of hip detachment. Then the kicker. Two stories briefly intersect, and two do not. A solution you never saw coming.

    The title of Person to Person describes director Dustin Guy Defa's fundamental method of building the film, moving through the city and across time not so much according to narrative logic but as individuals encounter one another and their competing motivations and wholly incompatible worlds bounce off each other. (This is a film that exhibits the timing of a farce, and yet its structure is one that might well have been generated through improv exercises.)

    But "person to person" is also an old-fashioned type of operator-assisted telephone call. If you didn't reach the specific person you were calling, you were not charged. In light of this, I think about the film's relationships in terms of determination and intent versus a willingness to take what you get in life. You encounter people along the way, but are they the specific ones you need?

    If there is one possible constant in Person to Person, it's that the longer you are alive, the more secure you become in who you are. Someone like Jimmy (Philip Baker Hall), the watch repair shop owner, is not going to do anything he doesn't want to, whereas Claire (Abbi Jacobson) entreats him to help her out and give her a scoop regarding a possible murder case, so she can figure out if she even wants to be a reporter. Likewise, Phil (Michael Cera) wants to motivate Claire to be successful because he's attracted to her, but also because that would mean he is a good mentor, something he needs to believe about himself.

    Then you have the two roommates. Bene (Bene Coopersmith), a jazz nerd, is excited to have found a guy selling a rare Charlie Parker LP. But when he finds out it's a fake, he chases the crook halfway across town in a mid-speed bicycle chase. (The two men's pause to walk their bikes down subway platform stairs is priceless.) Meanwhile, his buddy Ray (George Sample III) is on the run from his ex-girlfriend's brother for an untoward post-breakup maneuver. While Defa doesn't make too much of it, Bene and Ray are a clear contrast where integrity is concerned.

    Finally, the two young women, Melanie (Olivia Luccardi) and Wendy (Tavi Gevinson), are a comic interrogation of the problem of loyalty between girlfriends when one becomes involved in a relationship. Defa plays his hand rather broadly here, but to strong comic effect. Melanie is seeing the blandest dude imaginable; she actually becomes duller in his presence. Meanwhile, it is painfully obvious that the bitter, sardonic Wendy is in love with Melanie. (Her queerness is confirmed in the course of the film.) But, out of a desire to challenge her comfort zone, she hooks up with the tagalong best friend (Ben Rosenfield). It goes nowhere, but it's more of a risk than anyone else is taking.

    Simply by lining up all of these pairs and quartets, contrasts and dualities, I am in jeopardy of taking Person to Person more seriously than it takes itself. Yes, it is structurally sound, bearing a surface resemblance to certain more serious cinema -- Woody Allen, perhaps, or Noah Baumbach. But Defa's film is fleet of foot, light as a soufflé, and skronky like free jazz.

  • ★★★★ review by Patrick Devitt on Letterboxd

    yes, this is the best movie ever made.

  • ★★★★ review by josh lewis on Letterboxd

    "got no bread to pay the landlord

    got a song that i can sing to clear my head

    one more time for your trouble

    and you say the hell with it and keep repeating"

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