Award for Best Feature at the Boston Jewish Film Festival. In 2011, Westfeldt wrote, produced, starred in, and made her directorial debut in Friends with Kids, which was a breakout hit at the 2011 Toronto International Film Festival. Lionsgate and Roadside Attractions obtained the rights to the film, and it was released in 2012. Westfeldt starred opposite Adam Scott, with a cast including Maya Rudolph, Kristen Wiig, Chris O'Dowd, Ed Burns, Megan Fox and Jon Hamm. Peter Travers of Rolling Stone called Friends with Kids "an indelibly funny and touching comedy with a real sting in its tail," and deemed Westfeldt "an actress of rare wit and grace, and now a filmmaker with a keen eye for nuance. In front of the camera and behind it, she's the live current that pulls us in and makes us care. Westfeldt is the pulse of Friends With Kids, presenting us with life in all of its vibrant, messy sprawl." The film was included on New York Magazine's Top Ten List, as well as NPR's Top 12 of 2012. Other film roles include the 2016 short Lemon opposite Noah Bean, which premiered at the 2016 Tribeca Film Festival and, in 2017, a supporting role in director Marielle Heller’s Can You Ever Forgive Me? opposite Melissa McCarthy, which later ended up on the cutting room floor. In 2017, Westfeldt produced the documentary Circus Kid, based on Lorenzo Pisoni's life growing up in a circus family, which was bought and distributed by Sundance Now. Television After one season on Two Guys, a Girl and a Pizza Place, 20th Century Fox Studios cast Westfeldt as the lead of another series, the short-lived Holding the Baby on Fox. She went on to star in multiple pilots, including the WB's The Gene Pool opposite Chris Eigeman; The Untitled Paul Reiser Pilot on F/X; and Steve Levitan's Dante on NBC, opposite Morris Chestnut and Kevin Hart. In 2006, she was cast as the female lead in ABC's Notes from the Underbelly, which ran for two seasons. Andrew Johnston wrote in TimeOut: "Jennifer Westfeldt is a total babe, with physical-comedy skills that, if properly honed, could approach Lucille Ball territory. In other words, she was basically born for TV. [Westfeldt] gets to show her serious side, too, and if the series gives her enough exposure to start competing with Hope Davis and Laura Linney for blond-WASP roles, Underbelly will have