Steven Spielberg, arguably one of the best known and influential film director’s in the world, if he chooses to make an lightly fictionalised movie about his family who are we to argue?

“Sammy Fableman” (Gabriel LaBelle) & (Mateo Zoryan), are the loosely fictionalised older and younger Spielberg stand-ins, so no pressure for the actors. Sammy lives with his loving but somewhat distant father “Burt” (Paul Dano), creative yet more fragile mother “Mitzi” (Michelle Williams) and sister “Natalie” (Keeley Karsten).

The family practice the Jewish faith which on occasion exacerbates Sammy’s feeling of alienation, whilst being subjected to bullying and anti-Semitism at school. He finds salvation in movies, not just watching them but as he grows older, making his own “pictures”. He ropes in anyone and everyone to act in his movies as they grow more sophisticated, encouraged to a point by both parents.

Into every life some misfortune and darkness will descend and this is no exception.

The family has considerable contact with “Uncle Bennie” (Seth Rogen). The children accept him as part of the family, Mitzi clearly enjoys being with him and Burt, tolerates him as a good friend.

As the children grow older, cracks appear in the different relationships. Burt is the provider, somewhat of a whiz in the fledgling IT industry, Mitzi a retired concert pianist, is somewhat delicate and is drawn ever closer to Bennie.

Both Williams and Dano are superb actors and no look or gesture is wasted here, Dano poignantly encapsulates a man who knows he is falling short, yet not knowing how or why. He provides for his family but is unable to provide the connection the children and his wife needs, amply demonstrated by his sad, wistful & yet knowing smile.

Williams can play damaged soles like no-one else and does so here with ease, a beautifully drawn waif, fragile in nature, given to random eccentric acts, yet full of love. Williams interacts with a surprisingly good Rogen, demonstrating more range than we have seen before.

As you would expect there are a few stand out sequences, Mitzi dancing backlit in the headlights of car in a sheer dress. Onlookers unable to know how to feel, saying nothing and everything at the same time, a family disintegrating in the twilight.

Outspoken “Uncle Boris” (Judd Hirsch) crashes into one scene, dispenses wisdom then wisely and swiftly leaves, after planting pearls of wisdom into Spielberg’s young mind.

The director also manages to bring a few nostalgic movie references, a late brief meeting with iconic film director John Ford a forgiveable indulgence.

A lot is asked of Mateo & La Belle as Spielberg’s on screen avatar and do not disappoint. Innocent, passionate, inquisitive and ultimately more mature than their parents in many ways. Clearly demonstrated in a quietly devastating scene where Sammy shows his mother a previously judiciously edited film reel, have tissues ready.

Summary

Self Indulgent maybe but a film about empathy, understanding and learning to forgive, all aspects largely decreasing in the world at present.

Fine acting from all involved, coupled with careful, quiet considered direction. A film made with care and despite being intensely personal in nature, covers universal themes.