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The next morning I had a post-Marriage Story hangover and I hated myself for liking it. I swore I’d never go see another movie about some bougie fools and their inconsequential divorce and their real love, which is Stephen Sondheim.

Baumbach’s melancholic opus posits that relationships end the moment they start; wants become burdens the moment they are fulfilled; to truly know someone is to eventually hate them, and love will never get our full faith or respect. By making divorce the focus of his film, Baumbach teaches us to care more about what it takes to separate than what it takes to be together.

We may not want to even cheer for anyone in this fight as we’re dragged into the couple’s emotional quagmire. It’s that distinctly uncomfortable dynamic that makes Marriage Story an unforgettable entry in Baumbach’s oeuvre.

Instead of confronting personal experience, he emulates others — his betters — thanks to his unique position as an inveterate culture-vulture and social-climber.

Baumbach’s prime strength as a director is his vision of talk as action. “Marriage Story” is his strongest film because it turns the very basis for that talk into a crucial part of the action.

This is the story of a couple disintegrating, where the divorce looms as some inescapable outcome all throughout, a journey that’s at once devastating, hilarious, empathetic, and heart-wrenchingly vivid.

Though his characters remain developmentally immobile, Baumbach’s observations have become sharper. His eye is less jaundiced, his touch is a little more tender, and his ability to pinpoint his characters’ personal, emotional, psychological, and social shackles is both more precise and more generous.

This tragicomedy is all the more painful because it’s so brisk and witty, and because there’s so much energy and color in the performances, so much joie de vivre slugging it out with angst.

The melody is full of heartbreak, loss and regret, but the song is too beautiful to be entirely melancholy.

Hurt people hurt people. Truer words could not be spoken when considering Marriage Story, Noah Baumbach’s achingly personal new film that just might compete with Frances Ha as the director’s crowning achievement.

Speculation that aspects of Marriage Story are autobiographical to Baumbach’s split with Jennifer Jason Leigh is unavoidable, and yet that’s not what gives the movie its power. Here, instead of cultivating his typical hyperarticulate cruelty, Baumbach’s made a movie that is, in every way, about love—and specifically how it’s only love that can make you truly mean.

Driver exemplifies what Almodóvar suggests in Pain and Glory: a great actor is not the one who cries, but the one who struggles to hold in his tears.