Stillman’s film neither demolishes its pampered class nor indulges it in the manner of reactionary nostalgia like Downton Abbey. Metropolitan ends with three of its characters on a roadside, out of money, thumbing a ride, wiser and happier; it’s a film about the wealthy that an agrarian socialist need not object to. Above all, it’s a film that has lasted—changed, but lasted. It’s good to have it, and Whit Stillman, back. Yachting brokerage’s loss is cinema’s gain.
August 07, 2015