The eldest daughter of director Judd Apatow and actress Leslie Mann has made her directorial debut at this years Toronto International Film Festival, and it is sure to be the first in a long line of films to come. Beginning her career acting in her father’s films alongside her mother and younger sister, Maude Apatow starred in the HBO hit series Euphoria before directing this years Poetic License, her directorial debut. Written by Raffi Donatich, the film follows a mother who moves to a new town with her husband and daughter, and enrols in a poetry class as she loses touch with who she is, and where she stands in the world. With a perfect balance of comedy and touching moments, the performances and chemistry between the cast and Apatow’s promising direction make this a fun and fresh debut.

When Liz moves to a new town with her professor husband and their 17-year-old daughter, she enrols in a poetry class to fill her time. Liz’s life revolves around her daughter Dora, and she struggles as their relationship becomes tense as Dora begins to spread her wings and make new friends, while contemplating leaving home to go study college in a big city. Feeling she is losing what once gave her an identity, being a mother, Liz forms a new friendship with college students Sam and Ari, who are dealing with their own problems of co-dependency, mental health issues, and overall anxiety about where their futures are heading after school finished for good.

It is clear that the heart of this film is the mother-daughter collaboration behind the scenes. A story of multiple characters coming-of-age and finding their way, showing that this journey never really ends, it just changes as we grow older. For Apatow to feature her mother, Mann, in the leading role, a flawed woman just like the others searching for her purpose in life, she is highlighting the real love and understanding she has of her mother, that exists so beautifully and clearly at the heart of the film.

Alongside Mann, the performances from Cooper Hoffman as Ari and Andrew Barth Feldman as Sam are funny, as they navigate the awkwardness of 20-something-year-old boys as they become friends with a woman their mother’s age. The triplet complement each other so wonderfully, further exploring this idea that our journeys to finding who we are never really end, we just learn new things about ourselves as we open up new questions we never thought to ask. Mann’s chemistry with Nico Parker as her daughter Dora is also so heartfelt throughout, echoing what I feel through the screen to be the real love Mann feels for her own real life daughters.

As the performances are able to balance the comedy of the story with the more serious topics of finding oneself and feeling lost at all stages of life, Donatich’s screenplay expertly balances the two tones, allowing the comedy to complement the more serious, making the discussions the characters have with themes of the film feel very real and rooted in reality.

The screenplay along with Apatow’s direction also always maintains a clear focus. You never feel uncomfortable because you are questioning Liz’s intentions with the younger men, nor do you ever feel awkward around the two boys for any reason other than their naivety and youth. The story treats Liz with such respect, supporting her on her own journey that happens to run parallel to Ari and Sam’s, rather than making a fool of her or making her the butt of the joke because of her age.

While the themes of the film will be relatable to all, and everyone will be able to find a character who resonates with them, there is a slight issue with the film feeling a tad long. As Liz struggles to find her identity outside of her daughter Dora, the point starts to feel a bit belaboured by the third act. Luckily this doesn’t take too much away from the overall experience of the film, and really allows each character to shine in their own journey.

Maude Apatow shows a promising future for herself behind the camera with her debut feature film Poetic License. While slightly long, the exploration of finding oneself and reminding us that this journey never ends as we grow older is one that will hit deep for viewers of all ages; as coming-of-age should not be confined to just stories about and for teenagers.

Poetic License was screened at the 2025 Toronto International Film Festival. Image courtesy of TIFF.