If things had gone according to plan, I would have met Molly Gordon somewhere in the West Village on Friday, July 14 — the same day the actor’s directorial debut,, opened in theaters. Gordon moved from New York to L.A. during the pandemic and has lots of favorite spots in the neighborhood: Joseph Leonard, Cafe Cluny, Little Branch, Bar Pisellino. “In New York, I’m like, ‘Let’s get a drink! Let’s go out!’” says Gordon. “In L.A., I’m like, ‘It’s 7:30, I have died. No one can talk to me anymore.
But instead of convening over an Aperol spritz, Gordon tells me this over Zoom, two days ahead of schedule. When we speak, it’s looking increasingly likely that the Screen Actors Guild will be on strike by Friday, at which point Gordon will no longer be able to promote her projects. Gordon appears on my screen wearing a loose white T-shirt and red nail polish, her dark hair tucked behind her ears and her bare knees pulled up to her chest.
As both a co-writer and co-director of the film, as well as one of its lead actors, Gordon spent six years trying to make, a process she describes as “a meditation on faith.” Gordon attended the performing arts camp Stagedoor Manor, and she created the movie with fellow theater kids Ben Platt , Noah Galvin , and Nick Lieberman .’s actors improvised off of a detailed plot structure, which the four wrote over Zoom during the pandemic after getting a long-awaited green light on the concept.
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