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Theatrical release poster
Directed byNicole Holofcener
Written byNicole Holofcener
Produced byAnthony Bregman
Starring
CinematographyYaron Orbach
Edited byRobert Frazen
Music byMarcelo Zarvos
Production
company
Distributed bySony Pictures Classics
Release dates
  • January 22, 2010 (2010-01-22) (Sundance)
  • April 30, 2010 (2010-04-30) (United States)
Running time
87 minutes
CountryUnited States
LanguageEnglish
Budget$3 million[1]
Box office$4.5 million[2]

Please Give is a 2010 American comedy-drama film written and directed by Nicole Holofcener. It stars Catherine Keener, Amanda Peet, Oliver Platt, Rebecca Hall, Ann Guilbert, and Sarah Steele. It revolves around married antique-dealers butting heads with the granddaughters of the elderly woman who lives in the apartment the couple owns.

The film had its world premiere at the Sundance Film Festival on January 22, 2010, and was theatrically released in the United States on April 30, 2010, by Sony Pictures Classics. It grossed over $4.5 million worldwide against a $3 million budget. It received positive reviews from critics, who mostly praised Holofcener's screenplay and the performances of the cast, and was named one of the top 10 independent films of 2010 by the National Board of Review. At the 26th Independent Spirit Awards, the film was given the Robert Altman Award and Holofcener was nominated for Best Screenplay.

Plot summary

[edit]

Kate and Alex are a couple living in a New York City apartment with their teenage daughter, Abby. Kate and Alex own a furniture store specializing in used modern furniture, which they buy at estate sales. They have bought the apartment adjacent to theirs, but its occupant, the elderly and cranky Andra, will stay in it until she dies. Andra has two granddaughters, the dutiful and generous Rebecca, a mammography technologist, and the cynical, sharp-tongued Mary, a cosmetologist.

Kate is troubled by the profits she makes from furniture sellers who do not know the value of what they are selling; the contrast between homeless people in her neighborhood and her own comfortable life; and the fact that her family will only be able to expand their apartment when Andra dies. She tries to assuage her guilt through volunteer jobs (which leave her weeping) and donations to homeless individuals (which sometimes backfire).

Cast

[edit]

Release

[edit]

Please Give was screened out of competition at the 60th Berlin International Film Festival, and had a limited U.S. release on April 30, 2010. It opened with $118,123 in five theaters, averaging $23,625 per cinema.[3]

Filming

[edit]

Please Give was filmed almost entirely in New York City. The bulk of the film was shot in Chelsea, including the spa scenes at Skintology, a day and medical spa.[4]

Reception

[edit]

Box office

[edit]

Please Give grossed $4,033,574 in the United States and Canada, and $533,088 in other territories, for a worldwide total of $4,566,662.[2]

Critical response

[edit]

On the review aggregator website Rotten Tomatoes, 85% of 140 critics' reviews are positive, with an average rating of 7.5/10. The website's consensus reads: "Nicole Holofcener's newest might seem slight in places, but its rendering of complex characters in a conflicted economic landscape is varied, natural, and touching all the same."[5] Metacritic, which uses a weighted average, assigned the film a score of 78 out of 100, based on 35 critics, indicating "generally favorable" reviews.[6]

Manohla Dargis of The New York Times opined, "Few American filmmakers create female characters as realistically funny, attractively imperfect and flat-out annoying as does Ms. Holofcener."[7]

Kenneth Turan of the Los Angeles Times stated, "Please Give concerns itself with the free-floating, amorphous guilt that's often characteristic of the modern urban condition. Obviously, it is a fine thing to help, to give, but Please Give wonders whether a good thing can be overdone, whether too much liberal guilt can leave you feeling too bad for too many people to do any real good."[8]

Lisa Schwarzbaum of Entertainment Weekly gave the film an "A−" and wrote, "With their shared characteristics of sex, age, motherhood, and brunet hair, Keener has become Holofcener's artistic alter ego. In Please Give, the sharp-eyed filmmaker sends her vibrant representative out into the world to explore what it means for a woman to be lucky and still feel itchy."[9]

Justin Chang of Variety commented, "Like Holofcener's previous pictures, Please Give derives its narrative energy less from a series of plotted incidents than from its keenly observed interplay of clashing personality tics and worldviews."[10]

David Edelstein of New York Magazine described the film as "an engagingly high-strung comedy about lack of empathy and the gnawing guilt that can attend it" and remarked, "Holofcener's plotting can seem casual, but her dialogue is smart, an oscillating mixture of abrasiveness and balm, of harsh satire and compassionate pullback."[11]

Peter Travers of Rolling Stone gave the film 3.5 out of 4 stars and noted, "The pitch-perfect performances help Holofcener stir up feelings that cut to the heart of what defines an ethical life. There's no movie around right now with a subject more pertinent. It'll hit you hard."[12]

Peter Bradshaw of The Guardian gave the film 3 out of 5 stars and stated, "Please Give is an interesting and refreshing turn for the better. As an ensemble comedy, it has more bounce, more life and more comic oxygen."[13]

Accolades

[edit]

At the 15th Satellite Awards, the film's editor Robert Frazen won for Best Editing. It was also nominated for Best Film – Musical or Comedy, ultimately losing to Scott Pilgrim vs. the World.[14]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Please Give

View on Grokipedia
from Grokipedia
Please Give is a 2010 American comedy-drama film written and directed by . The story centers on Kate () and Alex (), a married couple running an business in who profit by buying estates from grieving families, while awaiting the death of their curmudgeonly elderly neighbor Andra () to expand their apartment; their interactions with Andra's granddaughters, abrasive dermatologist Allison () and self-absorbed Mary (), expose tensions around guilt, charity, and family dynamics. Holofcener's draws from her signature exploration of affluent New Yorkers' moral quandaries, blending wry humor with incisive character studies. The film premiered at the Tribeca Film Festival on April 25, 2010, and received a by starting April 30, 2010. Critically, it earned an 85% approval rating on based on 140 reviews, with praise for its sharp dialogue, ensemble performances—particularly Keener's portrayal of liberal unease—and Holofcener's understated direction. It also holds a score reflecting positive reception for its bittersweet take on interpersonal ethics and consumerism. Though not a hit, grossing under $4 million domestically, Please Give solidified Holofcener's reputation for intimate, ensemble-driven indies that probe the discomforts of privilege without overt didacticism.

Synopsis

Plot overview

"Please Give" centers on Kate, portrayed by , and her husband Alex, played by , who operate an antique furniture business in by acquiring and reselling items from the estates of the recently deceased. The couple owns the adjacent apartment unit, long occupied by their elderly neighbor Andra, and plans to merge the spaces following her eventual death. Kate, burdened by moral qualms about their livelihood, undertakes impulsive charitable gestures, such as distributing baked goods to homeless people on the street, though these efforts often falter. Their teenage daughter Abby grapples with severe acne, which exacerbates her insecurities, while she explores initial dating experiences. The narrative interlaces subplots involving Andra's granddaughters, Rebecca—a dermatologist—and Mary, who balance visits to their grandmother with their own relational and professional challenges, leading to unexpected intersections with Kate's family.

Cast and characters

Principal cast

Catherine Keener stars as Kate, a furniture dealer grappling with ethical quandaries. This role represents her fourth collaboration with writer-director , having previously appeared in the director's (1996), (2001), and (2006). plays Alex, Kate's husband and business partner. Platt, known for his supporting roles in films like A Time to Kill (1996) and (1998), contributes to the ensemble dynamic with his established presence in character-driven comedies. Amanda Peet portrays Mary, one of the contrasting sisters involved in caring for their grandmother. appears as Rebecca, Mary's sibling, bringing her post- (2006) rising profile to the independent drama.

Supporting roles

portrayed Andra, the elderly and abrasive neighbor whose apartment Kate and Alex seek to acquire after her death, thereby facilitating key interactions that reveal strains in neighborly and familial expectations. Her role as Andra, Andra's granddaughters' grandmother, positions the character at the intersection of multiple household dynamics in the setting. Lois Smith played Mrs. Portman, Kate's mother residing in a nursing home and exhibiting signs of cognitive decline, which amplifies the film's examination of adult children's responsibilities toward aging parents. This supporting portrayal contributes to the layered depiction of extended family obligations amid urban living constraints. Sarah Steele enacted Abby, the adolescent daughter of Kate and Alex, whose social awkwardness and personal challenges provide additional texture to the central family's internal conflicts without dominating the primary narrative arcs. The ensemble of supporting performers, including these veteran actresses with backgrounds in New York theater and independent cinema, was recognized collectively in the 2011 Independent Spirit Awards for outstanding cast achievement, reflecting deliberate choices to ground the story in realistic portrayals of city-dwelling relationships.

Production

Development and writing

Please Give was written and directed by as her fourth , following (1996), (2006), and Then She Found Me (2007). The originated from a real-life incident involving a friend's purchase of an apartment from her elderly neighbors in , which provided both the narrative spark and primary setting for the story of a couple dealing in vintage furniture acquired from the recently deceased. Holofcener crafted the script to explore themes of guilt, privilege, and familial tensions among middle-class New Yorkers, drawing directly from her observations of urban interpersonal dynamics rather than broader literary or cinematic precedents. Development occurred in the late , with the script finalized before began in 2009. Holofcener's approach emphasized authentic character-driven narratives focused on flawed, morally ambiguous protagonists—a hallmark of indie cinema traditions that prioritize everyday ethical dilemmas over high-concept plots—allowing her to infuse personal insights into the protagonists' struggles with and . This method aligned with her prior works, where scripts evolved from intimate, anecdotal sources to critique social hypocrisies without overt didacticism. The project secured a modest of $3 million, half that of , through financing led by after persistent efforts by producer Anthony Bregman to convince the distributor of its viability. This independent funding model underscored the era's challenges for character-focused indies, relying on targeted acquisition rather than studio development pipelines.

Casting process

Nicole Holofcener prioritized actors capable of naturalistic performances during casting, favoring "down-to-earth people who talk normally and don’t have a lot of mannerisms" with genuine emotional , as determined through personal meetings and adaptability tests in auditions. This approach aligned with the film's low-budget independent production, emphasizing authenticity over high-profile stars, while balancing financier expectations by mixing established and emerging talent. For the protagonist Kate, Holofcener cast , their fourth collaboration following (1996), (2001), and (2006), with the role written specifically for Keener's ability to convey complex vulnerabilities like guilt and relational nuance. Holofcener's longstanding rapport with Keener, initiated after viewing her in (1992), facilitated minimal direction and trusted . Oliver Platt was selected as Kate's husband Alex, a role inspired by Holofcener's prior relationships, including one involving a enthusiast; Platt enhanced the character through added dialogue and personal insights during rehearsals, marking their initial joint project before further work on . , as the antagonistic dermatologist Mary, joined due to her admiration for Holofcener's filmmaking style and the script's interpersonal depth. was cast late as daughter Abby after Holofcener spotted her performance in (2004), prioritizing her fit for the awkward teen role. portrayed the elderly neighbor Andra, leveraging her experience from roles like Millie Helper in (1961–1966) for the character's acerbic irritability.

Filming and technical aspects

Principal photography for Please Give took place in , primarily utilizing authentic urban interiors such as apartments and a to reflect the film's setting among affluent yet confined city dwellers. Cinematographer Yaron Orbach, whose credits include naturalistic dramas like The Open Road, handled the visual capture, employing a straightforward approach that prioritized character proximity over elaborate setups. The production adhered to the script's dialogue-centric structure, incorporating limited in to maintain focus on interpersonal dynamics. Editing by Robert Frazen, a frequent Holofcener collaborator, was completed by December 2009, aligning with the film's premiere at the 2010 . emphasized natural ambient city noises and intimate conversations, recorded on location to enhance realism without synthetic augmentation. The technical execution favored efficiency, with a modest crew reflecting the independent production's budget constraints of approximately $3 million.

Release

Premiere and distribution

Please Give had its world premiere at the on January 22, 2010. The film subsequently screened at the Film Festival on April 27 and 28, 2010, ahead of its commercial rollout. distributed the film in the United States, initiating a on April 30, 2010, primarily in art-house theaters across major cities. This rollout targeted independent cinema circuits, reflecting the film's indie drama profile, with screenings expanding modestly to additional U.S. venues in subsequent weeks. Internationally, the film reached select markets through localized distributors, though specific dates varied by territory and remained confined to niche audiences. Following its theatrical window, Please Give became available on , with DVD and Blu-ray editions released on October 19, 2010, by . Streaming options emerged later, aligning with the growing digital platforms of the era, but initial post-theatrical access emphasized for broader availability.

Marketing and promotion

The official trailer for Please Give, distributed by and released online on April 14, 2010, spotlighted the film's ensemble dynamics, Catherine Keener's lead performance as a guilt-ridden furniture dealer, and its wry examination of urban interpersonal tensions amid vignettes. Promotional posters similarly emphasized the cast's star power—particularly Keener's recurring collaboration with director —alongside iconic apartment and street settings to evoke the film's intimate, location-specific comedy-drama tone. The film's world premiere at the Tribeca Film Festival on April 27, 2010, served as a key promotional platform, with appearances by Holofcener, Keener, and supporting actors like drawing attention from indie film enthusiasts and early attendees. These screenings fostered initial word-of-mouth through festival panels and Q&A sessions, positioning Please Give as a continuation of Holofcener's tradition of character-driven stories centered on women's moral quandaries. Press efforts focused on interviews highlighting Holofcener's female-led narratives and the cast's naturalistic portrayals, often conducted around the events to amplify buzz in specialty media outlets. As a low-budget indie release, eschewed large-scale television or billboard campaigns, instead prioritizing partnerships with arthouse circuits, limited online ads, and targeted outreach to Holofcener's established audience of viewers drawn to nuanced ensemble pieces over blockbuster spectacle.

Box office performance

Please Give opened in limited release on five screens in the United States and on May 2, 2010, earning $118,123 in its first weekend, for a per-screen average of approximately $23,625. The film subsequently expanded, achieving a domestic gross of $4,033,574. Produced on an estimated budget of $3 million, it demonstrated commercial viability for an independent by recouping costs through theatrical earnings alone, prior to ancillary revenue streams. Internationally, earnings totaled roughly $280,255, comprising about 6.5% of the worldwide gross of $4,313,829 and underscoring the challenges faced by American indies in overseas markets without broad appeal or star-driven . Strong per-screen averages during its domestic run—sustained by art-house audiences—reflected effective word-of-mouth and critical support, enabling holdover typical of director Nicole Holofcener's oeuvre, which prioritizes niche acclaim over wide commercial blockbuster potential.

Reception

Critical response

Please Give received generally positive reviews from critics, earning an 85% approval rating on based on 140 reviews, with the site's consensus highlighting the film's "witty ensemble" and Nicole Holofcener's sharp observation of human flaws. awarded it 3.5 out of 4 stars, praising its portrayal of "imperfect characters in a difficult world, who mostly do the best they can under the circumstances, but not always," and noting the depth in Catherine Keener's performance as a guilt-ridden furniture dealer. Publications like commended the film as a "fine-tuned study of and guilt," appreciating its loose, offbeat humor in exploring interpersonal tensions among New Yorkers. Critics offered mixed assessments of the film's tone, with some lauding its dark comedy and others decrying it as excessively mean-spirited. The Guardian described it as having "more bounce, more life and more comic oxygen" compared to Holofcener's prior works, crediting the ensemble dynamics for refreshing the indie comedy genre. In contrast, Slant Magazine gave it 1 out of 4 stars, faulting the narrative for prioritizing Catherine Keener's character arc in a way that strained believability and failed to transcend superficial interpersonal conflicts among privileged protagonists. The Playlist labeled it "acidic, mean & forgettable," arguing that its deflation of characters' philosophies prioritized cynicism over insight, potentially alienating viewers despite flashes of wit. Review distribution reflected this divide, with approximately 85% positive scores on indicating broad acclaim for Holofcener's screenplay and acting, though a minority of detractors—around 15%—focused on the protagonists' unlikability and perceived lack of redemptive arcs. Such critiques often centered on the film's unflinching depiction of moral shortcomings without sufficient narrative resolution, contrasting with praises for its realistic interplay.

Audience and commercial analysis

The film's theatrical release was confined to a limited number of screens, reflecting its independent production and distribution by , which constrained its mainstream audience reach. It opened on April 30, , earning $118,123 in its first weekend across 4 theaters before expanding modestly to 272 screens, ultimately grossing $4,033,574 domestically against an estimated $3 million . Worldwide totals reached $4,313,829, yielding a marginal profit but underscoring underperformance relative to the broader landscape dominated by blockbusters like ($415 million domestic). This outcome highlights a disconnect between the film's critical favor—bolstered by festival premieres and reviews—and its inability to capture significant ticket sales beyond urban art-house circuits. User-generated metrics reveal a tempered response, with aggregating 6.6/10 from 11,914 ratings as of recent data, lower than the 85% critics' score on and indicative of divided viewer sentiments. Positive assessments often praise its authentic depiction of New York liberal dilemmas, appealing to demographics familiar with its themes of affluence and unease, while detractors frequently critique it as insular or self-indulgent "navel-gazing," suggesting limited outside coastal, educated viewer pools. This polarization aligns with patterns in indie dramas, where niche appeal sustains discussion but fails to broaden commercially. Beyond theaters, Please Give achieved longer-term viability through ancillary markets, including DVD sales and streaming availability on platforms post-2010, fostering a dedicated following among indie cinema enthusiasts rather than mass popularity. Its cultural persistence remains evident in retrospective viewings and Holofcener's oeuvre discussions, though without the viral traction or repeat engagement of true staples, emphasizing how critical buzz translated to enduring but confined interest rather than widespread adoption.

Accolades and nominations

Please Give garnered nominations from key independent film organizations, reflecting its standing in the indie awards circuit, which emphasizes low-budget, narrative-driven projects over mainstream spectacles. At the 20th Gotham Independent Film Awards in 2010, the film was nominated for Best Feature alongside titles like The Kids Are All Right and Winter's Bone. It also received a nomination for Best Ensemble Performance, recognizing the cast including Catherine Keener, Amanda Peet, Oliver Platt, Rebecca Hall, and Ann Morgan Guilbert. Additionally, Ann Guilbert earned a Breakthrough Actor nomination for her role as the elderly neighbor. These nods positioned Please Give among competitive indie entries but without wins, as Winter's Bone dominated with multiple categories. The film secured a nomination for Best Screenplay at the 26th Independent Spirit Awards in 2011, awarded to writer-director Nicole Holofcener for her script exploring interpersonal guilt and urban dynamics. This recognition from Film Independent highlighted the screenplay's strengths in character development, a hallmark of Holofcener's work, though it did not prevail against nominees like Winter's Bone. The Independent Spirit Awards, focused on films with budgets under $20 million, provided a platform for such indie efforts, tallying Please Give's total major nominations at around five across these bodies. Despite this niche acclaim, Please Give received no nominations at the or , consistent with the genre's limited crossover to major ceremonies dominated by higher-grossing or genre-diverse films. This pattern underscores the indie awards' role in conferring prestige on specialized works, where empirical metrics like nomination counts signal peer respect rather than box-office validation.

Themes and analysis

Guilt, charity, and class dynamics

In Please Give, charitable impulses among the protagonists are framed as responses to individual guilt over material comfort and anticipated gains from transactions, rather than efforts to tackle underlying economic structures. This depiction aligns with empirical findings that voluntary giving frequently functions as a form of self-soothing, where donors experience personal satisfaction or status elevation, limiting its scalability for widespread mitigation. In contrast, sustained prosperity emerges from market mechanisms enabling , , and job creation; for instance, China's adoption of market reforms post-1978 correlated with declining from 88% in 1981 to 0.6% by 2015, outpacing charity-driven outcomes through expanded private enterprise and rural decollectivization. Class dynamics in the film emphasize within affluent or middle-class circles, where resentments arise from relative differences rather than absolute deprivation, illustrating tensions that overlook broader wealth generation processes. Such intra-class frictions highlight how perceptions of disparity can fuel moral unease without addressing causal factors like regulatory hurdles or fiscal policies that impede upward mobility for lower strata. indices demonstrate that societies with fewer interventions exhibit both higher growth and voluntary giving rates, suggesting market prosperity enables both and more effectively than guilt-motivated handouts. The narrative's reliance on personal anecdotes to explore these motifs avoids scrutiny of failures—such as welfare designs creating dependency traps or barriers to —that perpetuate inequality, favoring emotional introspection over structural critique. This mirrors a pattern in Hollywood cinema, where depictions of emphasize sympathetic vignettes and individual failings, often neglecting empirical root causes like misguided incentives, thereby reinforcing anecdotal biases over evidence-based causal reasoning.

Character flaws and interpersonal relations

The characters in Please Give are defined by personal flaws that causally underpin relational conflicts, eschewing sentimental resolutions for grounded depictions of dysfunction. Cath, portrayed by , displays abrasiveness and cruelty in her interactions with her sister Mary and grandmother Andra, dismissing familial obligations with superficial priorities like her appearance. Mary's contrasting reserve masks pettiness and resentment toward Andra's demands, fostering sibling tension rooted in divergent caregiving approaches. Andra's blunt meanness further alienates her daughters, highlighting how elderly frailty intersects with adult children's frustrations without contrived harmony. Abby's teenage isolation, driven by and weight insecurities, strains parent-child bonds, as her fixation on expensive sparks arguments with Kate over perceived stinginess. This reflects verifiable patterns where in adolescents correlates with social withdrawal, in 71% of cases, and friendship-making difficulties in 24%. Generational divides amplify these issues, with Abby's angst clashing against Kate and Alex's midlife pragmatism, including Alex's , which tests marital resilience through understated rather than dramatic upheaval. Critics commend the nuanced realism in these dynamics, portraying flaws as organic drivers of everyday discord akin to observed patterns. Yet, the film's comedic lens occasionally exaggerates traits for effect, such as Cath's brashness bordering on , which some argue risks viewer detachment from the relational authenticity.

Critiques of liberal self-examination

Critics have faulted Please Give for embodying upper-middle-class liberal self-examination that indulges in personal guilt over material success without probing the of accumulation, such as profiting from estate sales of deceased individuals' furniture. The film's focus on characters' awkward charitable gestures amid their comfortable lives has been labeled neurotic navel-gazing, emblematic of affluent urbanites' insular anxieties rather than rigorous for enabling dependency cultures through selective . Detractors describe the narrative's moral hand-wringing as underpinned by a smug , where emotional substitutes for causal scrutiny of how protagonists like Kate and sustain their by capitalizing on others' misfortunes, ultimately prioritizing cathartic unease over structural . This self-indulgent tone extends to interpersonal dynamics, critiqued as overly personal and reflective of bourgeois bohemian ("bobo") navel-gazing that signals without disrupting privilege. Audience reception underscores the film's limited broad appeal, with a 64% approval rating compared to 85% from critics, indicating primarily within chambers of similar socioeconomic and ideological demographics rather than wider empirical validation of its worldview. While some praise the honesty in unflinchingly portraying flawed liberal impulses without tidy redemption, others dismiss it as performative signaling, where guilt alleviates discomfort but evades first-principles questions about versus perpetual aid. Conservative-leaning commentary remains sparse, but general detractors right-of-center skepticism toward such depictions as exemplars of elite detachment from accountability for policy-driven dependency.

References

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