https://www.nationalreview.com/2022/01/an-insider-mocks-the-endless-progressive-guilt-trip/
Jesse Eisenberg’s directorial debut When You Finish Saving the World skewers the culture of liberal self-scourging.
A n intensely determined social worker played by Julianne Moore drives to work listening to equally intense classical music suggesting her utter, lifelong focus on a dramatic struggle for social justice. Then the camera pulls back to reveal the car she’s in: a pathetic, absurd, lawnmower-sized demi-car.
That’s the kind of perfect juxtaposition — funny, cutting, woefully accurate — that characterizes every smartly-designed scene in When You Finish Saving the World, the sly directorial debut of actor-writer Jesse Eisenberg. Eisenberg (who also wrote the movie, which began as a podcast) politely but devastatingly lampoons the sorts of people he grew up with and works among. And the Sundance Film Festival (where slick Beverly Hills dealmakers in $1,500 ski jackets solemnly take part in “land acknowledgment” ceremonies to parade their guilt about being the heirs of colonialism) is the perfect showcase for the film. Sundance (which is a virtual fest this year) has always hosted an intriguing balance of ruthless Hollywood ambition and silly liberal self-scourging. It can only benefit from taking in a bit of satiric blasphemy about its audience’s culture and politics.