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Hulu’s Conversations with Friends Has Nothing to Say

When adapting a heavily interior, first-person novel for the screen, certain calculations must be done. How does the screenwriter represent the internal—with snippets of voice-over or with new dialogue that borrows from the narratorial voice enough to convey the character work? What can the director and cinematographer do to create subjectivity? How does the film align viewers with a character’s perspective? Who can be cast to imply what’s hidden on her face?

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