Greenberg
We like Florence: she's considerate, sweet, pretty, and terrific with kids and dogs. She's twenty-five, personal assistant to an L.A. family that's off on vacation. Her boss's brother comes in from New York City, fresh from a stay at an asylum, to take care of the house. He's Roger, a forty-year-old carpenter, gone from L.A. for fifteen years. He arrives, doesn't drive, and needs Florence's help, especially with the family's dog. He's also connecting with former band-mates - two men and one woman with whom he has a history. He over-analyzes, has a short fuse, and doesn't laugh at himself easily. As he navigates past and present, he's his own saboteur. And what of Florence? is Roger one more responsibility for her or something else?
The film commercial failure against its moderate budget of $25.0M, earning $6.3M globally (-75% loss). While initial box office returns were modest, the film has gained appreciation for its fresh perspective within the comedy genre.
2 wins & 16 nominations
Plot Structure
Story beats plotted across runtime
Narrative Arc
Emotional journey through the story's key moments
Story Circle
Blueprint 15-beat structure
Arcplot Score Breakdown
Weighted: Precision (70%) + Arc (15%) + Theme (15%)
Greenberg (2010) reveals strategically placed narrative design, characteristic of Noah Baumbach's storytelling approach. This structural analysis examines how the film's 13-point plot structure maps to proven narrative frameworks across 1 hour and 47 minutes. With an Arcplot score of 7.8, the film showcases strong structural fundamentals.
Structural Analysis
The Status Quo at 1 minutes (1% through the runtime) establishes Florence drives through Los Angeles, caring for the Greenberg family's dog. She's a personal assistant living a passive, directionless life, taking care of other people's needs.. Of particular interest, this early placement immediately immerses viewers in the story world.
The inciting incident occurs at 11 minutes when The dog, Mahler, becomes seriously ill and Florence must rush him to the vet. Roger blames Florence, criticizing her competence. This event forces Roger and Florence into each other's orbits and sets up their central dynamic of conflict and attraction.. At 11% through the film, this Disruption aligns precisely with traditional story structure. This beat shifts the emotional landscape, launching the protagonist into the central conflict.
The First Threshold at 24 minutes marks the transition into Act II, occurring at 22% of the runtime. This shows the protagonist's commitment to Roger chooses to throw a party at his brother's house, actively attempting to reconnect with old friends and rebuild a social life in Los Angeles. This is his decision to engage rather than hide., moving from reaction to action.
At 47 minutes, the Midpoint arrives at 44% of the runtime—arriving early, accelerating into Act IIb complications. The analysis reveals that this crucial beat Roger's ex-girlfriend Beth resurfaces, revealing she's married and has a child. Roger realizes the life he could have had. This false defeat shows Roger that the past is truly closed, raising the stakes of whether he can build something new with Florence., fundamentally raising what's at risk. The emotional intensity shifts, dividing the narrative into clear before-and-after phases.
The Collapse moment at 71 minutes (66% through) represents the emotional nadir. Here, Florence has an abortion (Roger never knew she was pregnant from their encounter). She goes through this alone, representing the death of possibility and Roger's complete failure to be emotionally present for another person. Roger's narcissism has destroyed the one real connection he had., demonstrates the protagonist at their lowest point. This beat's placement in the final quarter sets up the climactic reversal.
The Second Threshold at 76 minutes initiates the final act resolution at 71% of the runtime. Roger learns about Florence's abortion from Ivan. This information breaks through his self-absorption—he finally sees the real consequences of his emotional unavailability. He realizes he must actively reach out, not wait for life to accommodate him., demonstrating the transformation achieved throughout the journey.
Emotional Journey
Greenberg's emotional architecture traces a deliberate progression across 13 carefully calibrated beats.
Narrative Framework
This structural analysis employs a 15-point narrative structure framework that maps key story moments. By mapping Greenberg against these established plot points, we can identify how Noah Baumbach utilizes or subverts traditional narrative conventions. The plot point approach reveals not only adherence to structural principles but also creative choices that distinguish Greenberg within the comedy genre.
Noah Baumbach's Structural Approach
Among the 8 Noah Baumbach films analyzed on Arcplot, the average structural score is 6.5, demonstrating varied approaches to story architecture. Greenberg represents one of the director's most structurally precise works. For comparative analysis, explore the complete Noah Baumbach filmography.
Comparative Analysis
Additional comedy films include The Ministry of Ungentlemanly Warfare, The Bad Guys and Lake Placid. For more Noah Baumbach analyses, see Frances Ha, While We're Young and Mistress America.
Plot Points by Act
Act I
SetupStatus Quo
Florence drives through Los Angeles, caring for the Greenberg family's dog. She's a personal assistant living a passive, directionless life, taking care of other people's needs.
Theme
Phillip Greenberg tells Florence that his brother Roger is "doing nothing for a while" after a nervous breakdown. The theme of stagnation versus growth, of arrested development and the courage to engage with life, is introduced.
Worldbuilding
Florence's world is established: house-sitting for the wealthy Greenbergs, her casual relationship with a co-worker, her passive acceptance of others' plans. Roger arrives from New York, bitter and critical, writing complaint letters to corporations. His ex-bandmate Ivan visits, revealing Roger's past failures.
Disruption
The dog, Mahler, becomes seriously ill and Florence must rush him to the vet. Roger blames Florence, criticizing her competence. This event forces Roger and Florence into each other's orbits and sets up their central dynamic of conflict and attraction.
Resistance
Roger debates re-engaging with life. He reconnects with old friend Ivan, considers attending a party, writes more complaint letters. Florence remains available despite Roger's rudeness. Roger resists moving forward, clinging to grievances about his past band breaking up and his brother's success.
Act II
ConfrontationFirst Threshold
Roger chooses to throw a party at his brother's house, actively attempting to reconnect with old friends and rebuild a social life in Los Angeles. This is his decision to engage rather than hide.
Premise
Roger explores a tentative relationship with Florence while navigating reconnection with his past. They sleep together, he meets her friends, attends events. He begins carpentry on a doghouse. The premise: can a deeply narcissistic, arrested man learn to connect with another person?
Midpoint
Roger's ex-girlfriend Beth resurfaces, revealing she's married and has a child. Roger realizes the life he could have had. This false defeat shows Roger that the past is truly closed, raising the stakes of whether he can build something new with Florence.
Opposition
Roger's flaws intensify. He becomes more critical, self-absorbed, and cruel to Florence. He pursues Beth despite her marriage, ignoring Florence's feelings. He fights with Ivan, alienates his niece Sara, and reveals he can't maintain basic human decency when his ego is threatened.
Collapse
Florence has an abortion (Roger never knew she was pregnant from their encounter). She goes through this alone, representing the death of possibility and Roger's complete failure to be emotionally present for another person. Roger's narcissism has destroyed the one real connection he had.
Crisis
Roger spirals into self-pity and isolation. Florence withdraws. He drinks, lashes out, and confronts the reality that his inability to connect has left him completely alone. Dark night of recognizing his own responsibility for his emptiness.
Act III
ResolutionSecond Threshold
Roger learns about Florence's abortion from Ivan. This information breaks through his self-absorption—he finally sees the real consequences of his emotional unavailability. He realizes he must actively reach out, not wait for life to accommodate him.
Synthesis
Roger attempts to make amends. He completes the doghouse, calls Florence, and goes to the airport to see her before she leaves for a trip. He makes a genuine, vulnerable effort to connect—asking to see her again, admitting his feelings, being honest about his limitations.