A #NepoBaby starts their career without a blank slate.

Besides the increase in practical opportunities, cognizant audiences will also view their early work — and maybe even thereafter? — through the prism of their famous lineage, and there’s inherent interest on our end in continuing this already-extant artistic conversation through the familial generations.

A rich example of this phenomenon hit theaters recently:

By this point, Nick Cassavettes is an established director in his own right. And yet, I still found his new movie God Is a Bullet most interesting as one amongst many answers to the question: “What sort of movies would be made by an offspring with the combined genome and child-rearing of Gena Rowlands and John Cassavetes?” His artistry enters into a conversation with their artistry — the relativity of relatives, if you will — thereby continuing the conversations we’ve been having with their art for years.

A commoner example is in theaters right now: Michael Gandolfini echoing his papa in Landscape with Invisible Hand.

And my favorite example blesses us with her return later this season (strike permitting; kill me):

Sofia Coppola has left more than one of her movies open to the interpretation that they’re about her father. One major filmmaker, making movies about another major filmmaker? Peeling back the curtain on their personal lives, from the most personal perspective?

Sign me the fuck up, every time.