Whether or not she succeeds in getting her spiralling life back on track is another matter. In Rosaline, that presence is far more subdued the titular heroine - described as ‘Romeo’s ex’ on the poster - is a more active protagonist than Tom Hansen in (500) Days of Summer, Aimee Finecky in The Spectacular Now, or Hazel Grace Lancaster in The Fault in Our Stars. Barring director Ritesh Batra’s Our Souls at Night - in which they sort of flipped their usual narrative - Neustadter and Weber’s scripts are almost exclusively about idealistic characters whose lives are changed irrevocably by an enigmatic new presence. Their stories are a soulful blend of youthful exuberance and the melancholy that can only come with old age. And most of it can be attributed to screenwriters Scott Neustadter and Michael H Weber - they’re the guys behind (500) Days of Summer, The Spectacular Now and The Fault in Our Stars. In many ways, however, Rosaline is a more lively film than Catherine Called Birdy. It’s a Matroska doll of hat-tips and homages that ironically robs Rosaline of any originality, despite the great efforts that it appears to be putting into being edgy and contemporary. ![]() More mind-bendingly, Laurie Rose also shot the pilot of episode of Fleabag. The Fleabagification of modern cinema wouldn’t be complete without a contemporary soundtrack, which Rosaline also borrows from Dunham’s seminal series Girls.
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