We all strive to be the best version of ourselves, not realising that the only way to improve and lead a life in which we can have pride is to stop defining ourselves by the people who surround us, and instead focus on developing the confidence to love ourselves, regardless of the cost. It’s a hopelessly saccharine idea in theory, but this is a subject that bears a lot of relevance, and which applies to many different scenarios, not in the least having to do with the growing desire to step away from conventions and embrace your own unique journey, regardless of the consequences that come with going against the status quo. This is the discussion in which Zoe Cassavetes firmly roots her directorial debut, Broken English, in which she tells the story of Nora, who has never had much luck when it comes to romance, and which only grows more frustrating when everyone around her – including her best and mother – all seem to be in loving relationships that bring them joy and a sense of fulfillment. Eager to prove that she’s not destined to be perpetually alone, Nora goes in search of prospective partners, but discovers that the relationships that mean the most usually are the ones that emerge most unexpectedly, something that she learns when meeting Julien, an enigmatic Frenchman who sweeps her off her feet, but exits her life without reason much faster than she anticipated. A very simple but effective film in which the director crafts a film that is very clearly meaningful to her beyond the allusions to her father’s work and the involvement of her mother, creating a charming and engaging exploration of modern life and the challenges that emerge when someone strives to change paths and improve their lives, not realising that there are many flaws that come pre-packaged with the act of simply trying to survive contemporary existence, all beautifully highlighted throughout this lovely and endearing film.

Broken English is the kind of film that contains a story that is clearly steeped within reality to a certain extent – there’s nothing particularly daring about the plot, but there is still a layer of detail that makes it quite evidently based in real life. Cassavetes has been quite open about how this film may not necessarily be her life story committed to film, but still contains autobiographical elements, which inform most of the narrative and lead to some astute and meaningful observations on the human condition, something that she clearly inherited from her father in terms of both style and substance. The core themes of this film are essentially the challenges of being a woman in the modern world, where the ability to be independent and live on your own terms can sometimes lead to a lot of loneliness and confusion, especially since there are fewer guides to navigating single life for women than their are for their counterparts. It may feel odd to reduce this film to simply being about the obstacles someone has to overcome when looking for love, but this is exactly what Broken English is, and it does so exceptionally well, focusing on the smaller ideas and gradually presenting them as part-and-parcel of a larger discussion. Nora represents many women who are slightly more advanced in terms of age – she’s not past her prime by any means (although the film actively – and very appropriately – pushes against the idea of someone being undesirable based on age), and lacks confidence, which ultimately becomes her biggest obstacle, something that she only overcomes once taking the leap and deciding to take a few risks, which ultimately sets her on a (meta)physical journey where she learns more about herself than ever before, and ultimately emerges happier and more content than ever before.

When your parents are John Cassavetes and Gena Rowlands, it seems almost disrespectful to pursue any path other than filmmaking in some capacity, since talent is coursing through the veins of their children, as made quite clear by the fact that many of them have entered the profession of their parents. Zoe Cassavetes (unlike her brother Nick, who has always preferred to make more populist works) is clearly more selective – this is the first of only two directorial outings in her career – but he’s clearly more aligned with her father’s sensibilities, creating a film that is much smaller and more intricately-woven, being an examination of these characters and their personal and professional struggles, particularly in the efforts to reconcile the two. Simplicity is the key here, and she approaches the subjects much like her parents, who always viewed subtlety as a rare commodity, and which they often used as the main artistic currency in their films. Broken English is effortlessly simple – it doesn’t have a particularly inventive style, essentially just being a series of moments in the life of the protagonist as she navigates her life, and gradually allows us into her mind, giving us the chance to see life through her eyes. There isn’t any need for excessive emotions, and the realism of the film is the main reason behind its success, since it is hoping to convey a sense of authenticity, showing the reality of women like Nora as they make their way through various challenges, learning some tough lessons along the way. Cassavetes keeps everything quite light and upbeat – Broken English is not an outrageously funny film, but is still a delightful comedy-of-manners, where even the most daunting of subjects is approached with a sense of levity, often serving as a perfect complement to the more downbeat moments that are equally as important to portraying the protagonist’s existential journey.

A glance at the cast of Broken English immediately draws our attention to the calibre of talent involved in this film – not only is it drawing actors from different generations and genres, but also involving actors that have worked in international film, making it a surprisingly diverse and compelling cast (and highlighting one of the clear deviations between the director and her father – he made films that were quintessentially American, whereas this film is about cross-cultural contact and has an entire act set in France) – and watching the film, we’ve struck by how wonderful everyone is, their performances being uniformly very strong. Parker Posey is simply one of our greatest living actors, but yet has rarely been given roles worthy of her skills – but when she finds the right project, she is a force to be reckoned with. The role of Nora is seemingly not a challenging one – she’s a charming milquetoast of a woman who is defined by what many consider to be a lack of personality, and her desire to please everyone, something that gradually changes as the film progresses and we are given more insights into her life and perspective. Posey is fantastic, and while she has to set aside her more eccentric style of acting with which she is usually associated, she’s nonetheless exceptional and brings such humour and heart to the film. The rest of the cast exists in service of Posey, but they all have strengths of their own – Gena Rowlands is her mother, and while it is technically impossible for her to deliver a performance that is anything less than spellbinding, she’s still surprising and wonderful in this part. Drea de Matteo, Melvil Poupaud, Peter Bogdanovich, Bernadette LaFont and Justin Theroux are amongst the rest of the cast, and they certainly are all valuable additions to the film – everyone has at least one memorable moment, and Cassavetes takes the time to create a mosaic of personalities that anchors the film and gives it a sense of authenticity throughout.

At its core, Broken English is a very small film – it tells a simple story in a way that is intimate, quiet and often more internal than it is wildly entertaining. Yet, it still manages to be quite effective in conveying its underlying meaning, becoming a far more compelling work than many of us may imagine based on a cursory glance. Cassavetes has not been as active as we may expect (her last directorial endeavour was a decade ago), but this is nonetheless a very promising debut that highlights her inherent talents and ability to craft a compelling narrative that is filled to the brim with heart, humour and sincerity, all of which are cornerstone in developing this film’s identity and allowing it to flourish into a far more engaging piece of cinema. Featuring a stellar cast (in which everyone is excellent and perfectly aligns with the intentions of the film), a strong screenplay in which realism is a priority, and sleek direction, all come together to form quite an engaging film. It moves at a stately pace, and is sometimes quite ambiguous in what it intends to say, often refusing to outright provide the answers that we seek – but it does ultimately know where to place its emphasis, and strolls to that point, being a masterful examination of the human condition, curated by a filmmaker who uses her own experiences to make several very astute observations on modern life and the consequences of challenging the conventions of society, which can ultimately restrict someone or set them free, depending on their approach. Compelling, meaningful and filled with heart and humour, Cassavetes struck gold with Broken English, a film that once again embodies the very spirit of fervent independence defined by her father, who lingers as an artistic presence throughout this wonderful film.