![]() THE MEG MOVIESHARE MOVIEThe movie is shot in lush black and white, an aesthetic that speaks to Baumbach’s admiration for French new wave filmmakers, from François Truffaut to Eric Rohmer and Jean-Luc Godard, specifically his Band of Outsiders. The very thing that Frances thought would make her feel safe in her sea of confusion turns out to be not that reliable after all while friendship can offer sanctuary, no one can take refuge in it forever. That’s the first fracture in their friendship, which soon teeters on the brink of dissolution. And while Frances refuses to ditch Sophie to move in with her boyfriend when he asks, Sophie leaps at a chance to move to Tribeca with a different friend. “Sometimes there is, for a second,” Sophie says. “There’s no service,” she says when they’re on the subway together and Sophie is staring at her smartphone. Clingy Frances zealously guards Sophie’s attention. Also, she has no sense that the balance of her friendship with Sophie is off. Whereas in romantic comedies when the beautiful starlet is forced to take a fall or be smeared with ice cream so the audience will think she’s just like them, when this girl trips, you believe it.) Frances is older than the confused characters in Baumbach’s debut, the 1995 feature Kicking and Screaming, and thus more pathetic. ![]() ![]() (She may be the world’s clumsiest aspiring modern dancer. In truth, Sophie has a decent career in publishing, not exactly a thriving industry, and Frances is barely hanging on to an apprenticeship at a modern-dance company. THE MEG MOVIESHARE PROFESSIONALThey intend to have great professional success, receive many honorary degrees between them and have no children Sheryl Sandberg wouldn’t have to tell them to lean in. Sophie is Frances’ person and, Frances thinks, vice versa. Dumpling House!” Listening, her boyfriend eyes her balefully there’s no room for him in this equation. “Are you drunk?” Frances giggles to Sophie on the phone. ![]() The screenplay is a smart jumble of observed scraps of conversation that make sense only to the two of them and tend to the sweetly inane. While it treads much of the same ground as Gerwig’s earlier film Lola Versus and Lena Dunham’s Girls - well-educated, artsy 20-somethings struggling professionally and personally in New York City - Frances Ha is focused on a genuine life issue that doesn’t get much play in movies: the challenges of platonic love and the complicated passions of friendship.įrances is fond of telling people that she and her best friend Sophie (Mickey Sumner) “are the same person with different hair.” They went to college together at Vassar and, at the beginning of the movie, share an apartment in Brooklyn and take “sips” off each other’s cigarettes. But Baumbach’s winning and provocative film, co-written with his Greenberg star Gerwig, is more about the fierce importance of friendships in that drifty time when “real” life is supposed to begin but the start button remains worrisomely hard to locate. A floundering 27-year-old named Frances (Greta Gerwig) does move closer to adulthood in the course of the movie. Follow asked me if director Noah Baumbach’s Frances Ha is a coming-of-age story. ![]()
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