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Frances Ha

Frances Ha is a 2012 American black-and-white comedy-drama film directed by and co-written by Baumbach and , who stars as the titular character, a 27-year-old aspiring dancer navigating the uncertainties of post-collegiate life in . The story follows Frances Halladay as she bounces between temporary apartments in , grapples with career setbacks at a contemporary dance company, and strains her closest friendship amid financial and romantic challenges. Shot digitally in black-and-white with a runtime of 86 minutes, the movie draws stylistic inspiration from cinema, emphasizing improvisational dialogue and a loose, episodic structure that captures the aimless energy of young adulthood. The film features supporting performances from as Frances's best friend Sophie, as a charming acquaintance, and , with additional cast members including and . Produced on a modest budget by Productions and others, Frances Ha premiered at the on September 1, 2012, followed by screenings at the and . It received a limited U.S. theatrical release on May 17, 2013, distributed by , grossing $4.1 million domestically and $11.2 million worldwide. Critically acclaimed for its authentic portrayal of millennial struggles and Gerwig's endearing, naturalistic performance, the film holds a 92% approval rating on based on 192 reviews, with consensus praising Baumbach's sensitive direction. Frances Ha earned significant recognition in circles, including a nomination for in a Motion Picture – Musical or Comedy for Greta Gerwig's lead performance at the . At the 29th , it received five nominations, among them Best Feature, Best Female Lead for Gerwig, Best Director for Baumbach, Best Screenplay, and Best Editing. Though it did not win major awards, the film's influence endures as a defining work in Baumbach and Gerwig's collaborative oeuvre, highlighting themes of friendship, ambition, and resilience that resonated with audiences and critics alike.

Synopsis and Cast

Plot

Frances Halladay is a 27-year-old aspiring modern dancer apprenticing with a dance company, sharing an apartment in with her best friend Sophie, with whom she shares a deep platonic bond akin to a long-term . Their provides emotional anchor amid Frances's ambitious yet precarious pursuit of a dance career, reflecting the transience and uncertainties of millennial life in the city. As Sophie advances in her publishing job and moves to a more affluent apartment in , Frances, unable to afford it, relocates to a shared space in with friends Lev and Benji, two aspiring writers, marking the first of several housing upheavals that underscore her instability. Soon after, Frances experiences a with her boyfriend, compounded by Sophie's growing commitment to a partner, who prompts Sophie to relocate to Sacramento, further straining their connection and leaving Frances to navigate her ambitions alone. In a bid to reclaim momentum, Frances visits her family in Sacramento for , reconnecting with her roots before embarking on an impulsive two-day trip to intended as an artistic recharge, though it devolves into isolation when she oversleeps and misses planned connections, highlighting the gap between her dreams and reality. Returning to , she faces escalating job struggles, including being sidelined at the dance company, and takes temporary work back at her alma mater, , where she serves wine at alumni events and crashes in a dorm, evoking a sense of regression amid her transient lifestyle. Through these trials—shifting residences, romantic setbacks, and professional hurdles—Frances confronts the ambiguities of ambition and adulthood, gradually achieving modest growth by stepping into a choreographic role that aligns with her creative aspirations, while mending her friendship with in a moment of mutual understanding.

Cast

The principal cast of Frances Ha features in the lead role as Frances Halladay, an aspiring but struggling dancer navigating life in . portrays Sophie Levee, Frances's closest friend and confidante. plays Lev Shapiro, a wealthy acquaintance from Frances's social circle. appears as Benji, another friend providing comic relief in the ensemble. stars as Rachel, a fellow dancer in the company's orbit.
ActorRoleDescription
Frances HalladayAspiring dancer facing career uncertainties
Sophie LeveeBest friend and emotional anchor
Lev ShapiroAffluent acquaintance with connections
BenjiWitty friend in the group's dynamic
RachelAmbitious dancer colleague
ColleenSenior dancer and mentor figure
Supporting roles include as Colleen, a more established dancer; as Andy, a acquaintance; as Dan, Sophie's boyfriend; as Patch, a brief romantic interest; and as Caroline, part of the social periphery. Additional ensemble members feature as Nessa, a party guest, and as Nadia, another acquaintance at gatherings. Director makes a brief as a doctor. Gerwig's involvement as co-writer alongside Baumbach lent authenticity to her portrayal of , drawing from her own experiences as a young performer in to infuse the character with genuine vulnerability and idiosyncrasy.

Production

Development

The screenplay for Frances Ha was co-written by director and , who also starred in the lead role. Gerwig contributed initial ideas drawn from her own post-college experiences, including the challenges of transitioning to adulthood in and the intensity of close female friendships formed during that period. These elements were expanded collaboratively into a full feature script around 2011, building on their prior professional partnership, such as their work together on Greenberg (2010). Baumbach and Gerwig drew significant inspiration from the cinema, particularly the works of directors like and , as well as the early films of , to craft a with a aesthetic and low-budget sensibility that evoked a sense of immediacy and . This stylistic choice was envisioned from the outset to capture the film's intimate, dialogue-driven exploration of personal growth. The film was produced on a budget of approximately $3 million, financed by RT Features, Pine District Pictures, and Scott Rudin Productions. This modest funding allowed for a focused, production that aligned with the story's themes of financial and artistic aspiration. Central to the film's conception was the decision to center the narrative on the dynamics of female friendship and the struggles of millennial life in , with Gerwig's personal anecdotes—such as navigating and shifting living arrangements—shaping the protagonist Frances as a relatable figure in her late twenties. This emphasis highlighted the emotional "breakup" of a best friendship amid broader uncertainties, positioning the story as a modern coming-of-age tale.

Filming

Principal photography for Frances Ha took place over the summer of 2011, beginning in August after co-writer and star returned from a . The primarily shot in , focusing on neighborhoods like and to capture the everyday environments of young adults navigating urban life. Additional filming occurred in Sacramento for family-related scenes, a one-week trip to that depicted the protagonist's brief and unproductive visit abroad, and at in , Baumbach's alma mater, for sequences involving a summer camp setting. Cinematographer Sam Levy employed digital cameras to shoot the film in black-and-white, emulating the aesthetic of 35mm while maintaining a low-profile, guerrilla-style approach suitable for the indie production. The was set at 1.85:1, contributing to the intimate framing of the story's personal moments. Handheld shots were extensively used to convey the fluid, authentic movement of characters through spaces, emphasizing the film's focus on millennial experiences. The production operated on a modest budget with a small crew, which necessitated improvisation and reliance on natural lighting to minimize setup times and costs during location shoots. Editor assembled the footage into a final cut running 86 minutes, preserving the spontaneous energy of on-set performances. Gerwig's as and lead actor facilitated quick adjustments and improvisational , enhancing the film's naturalistic tone. Producers included director , Gerwig, , and others, who prioritized capturing unpolished glimpses of post-college life amid logistical constraints.

Style and Music

Visual Style and Influences

Frances Ha is shot in black-and-white, a deliberate choice by cinematographer Sam Levy that evokes the aesthetic of 1960s French New Wave cinema, lending the film a timeless, nostalgic quality while highlighting the textures of urban life. This monochrome palette, combined with high-contrast lighting that creates deep shadows and luminous highlights, underscores the emotional highs and lows of Frances's journey, making intimate moments feel both raw and artistic. The film's 1.85:1 further enhances this intimacy, framing characters in a classic widescreen format that draws viewers into their personal spaces without overwhelming grandeur. Cinematic techniques such as long takes, jump cuts, and intertitle cards directly reference directors like and , mimicking the playful, fragmented style of films like Jules and Jim (1962) and Breathless (1960). For instance, the use of title cards to denote locations and time jumps echoes Truffaut's narrative shorthand, while jump cuts and extended tracking shots—particularly in running and dancing sequences—capture the spontaneity and energy of youth, much like Godard's innovative editing. Fluid camera movements, often handheld or , mirror Frances's chaotic existence, weaving through bustling streets and cramped apartments to convey her restless aspiration and instability. The visual style also draws from Woody Allen's (1979) in its romanticized portrayal of , blending urban elegance with everyday grit to ground the story in a vibrant yet unforgiving metropolis. Greta Gerwig's performance style, characterized by loose, expressive physicality and unpolished delivery, fosters naturalistic dialogue that feels improvised, even though the script was tightly written, enhancing the film's blend of wry comedy and poignant . Visual motifs, such as the opening and closing dancing sequences set to David Bowie's "Modern Love," symbolize Frances's unyielding pursuit of artistic dreams amid personal upheaval, reinforcing the film's tender exploration of growth and resilience.

Soundtrack

The soundtrack of Frances Ha consists primarily of licensed period music drawn from pop and French New Wave-era compositions, selected to evoke a sense of and romantic optimism while fitting the film's low-budget aesthetic. While no traditional original score was composed, the soundtrack includes some original compositions, such as "Million Dollar Doll" by Dean & Britta, alongside pre-existing tracks to punctuate emotional beats and enhance the narrative's rhythmic flow, much like verses in a pop . Key selections include David Bowie's "Modern Love," which underscores the opening dance sequence to highlight protagonist Frances Halladay's irrepressible energy and optimism as she navigates . Georges Delerue's "Camille" (from the 1963 film ) and other pieces like "Negresco's Waltz" contribute a influence, evoking wistful nostalgia during moments of longing and reflection. Additional tracks, such as Paul McCartney's "Blue Sway" and T. Rex's "Chrome Sitar," blend indie-pop elements with the film's retro vibe, amplifying scenes of joy, friendship, and fleeting triumph. The official soundtrack album, Frances Ha (Music from the Motion Picture), was released digitally on May 28, 2013, by , compiling 12 tracks that mix these 1970s pop hits, quirky scores, and orchestral pieces. A limited edition pink vinyl version was released on March 8, 2024. This musical choices synergize with the film's visual style to create a cohesive, cinematic atmosphere reminiscent of classic arthouse cinema.

Release

Theatrical Release

Frances Ha had its world premiere at the on September 1, 2012. The film then screened at the on September 7, 2012, and at the on September 30, 2012. These festival appearances generated considerable buzz among critics and audiences, helping to build anticipation for its wider release. The film was given a in the United States on May 17, 2013, by , which expanded to more screens on May 24, 2013. Internationally, it opened in on July 3, 2013, followed by a release in the on July 26, 2013. Produced on a budget of $3 million, Frances Ha ultimately grossed $11.2 million worldwide. During its opening weekend in limited release across four theaters, it earned $137,398, achieving a robust per-screen average of $34,350. The marketing campaign focused on the film's independent sensibilities, Greta Gerwig's charismatic starring role, and its evocative black-and-white aesthetic, elements prominently featured in the official trailer debuted in March 2013. Trailers and promotional materials portrayed the story as a witty, relatable portrait of aspiration and friendship in contemporary .

Home Media

The home video release of Frances Ha in the United States occurred on November 12, 2013, through , which issued a dual-format edition including both DVD and Blu-ray discs featuring a new high-definition digital master approved by director , along with . The special features comprise new video conversations between and Baumbach, and , and Baumbach with cinematographer Sam Levy and colorist Pascal Dangin discussing the film's visual style; a theatrical trailer; an booklet with a piece by playwright ; and English subtitles for the deaf and hard of hearing. Criterion's stewardship has helped preserve and elevate the film's archival presence among cinephiles. Internationally, the film received a DVD edition distributed by Films and Potemkine on December 1, 2015, presented in its original English audio with subtitles and including trailers as supplemental material. Regional variations, such as localized and packaging, have appeared in other markets to accommodate international audiences. On streaming platforms, Frances Ha first became widely available digitally around 2014, including a multi-year run on that extended until approximately 2018 before cycling off. It returned to on November 1, 2025. As of November 2025, it streams on , the Criterion Channel, and , with additional options like AMC+ and MUBI in select regions.

Reception and Legacy

Critical Response

Frances Ha received widespread critical acclaim upon its release, earning a 92% approval rating on based on 192 reviews, with an average score of 7.80/10. On , the film holds an aggregate score of 82 out of 100 from 35 critics, indicating "universal acclaim." Critics frequently praised Greta Gerwig's lead performance as effortlessly charming and authentic, capturing the nuances of a young woman navigating uncertainty. The film's depiction of female friendship and the anxieties of one's twenties was lauded for its honesty and emotional depth, while Noah Baumbach's witty, collaborative script with Gerwig was highlighted for its sharp and organic flow. In his New York Times review, A.O. Scott described the film as a "miniature of charm and alarm," emphasizing Gerwig's ability to blend clumsiness with grace in a portrayal of post-collegiate drift. Richard Brody of commended its homage to the , noting how the black-and-white cinematography and musical choices evoked Truffaut and Carax while grounding a story of millennial in contemporary culture. Though overwhelmingly positive, some reviews pointed to minor predictability in its character arcs, with Peter Bradshaw of observing that the reverence for the protagonist occasionally felt unearned amid the comedic . Reception in 2013 often celebrated Frances Ha as a vital example of indie cinema's capacity to represent millennial experiences with vitality and nuance, avoiding stereotypes in favor of relatable, non-judgmental observation. This positive buzz contributed to several award nominations, underscoring its impact on contemporary film discourse.

Accolades

Frances Ha received widespread recognition during the 2013 awards season, driven by its critical acclaim for its witty portrayal of millennial life and Greta Gerwig's standout performance. The film earned a nomination at the for in a Motion Picture – Musical or Comedy for Gerwig. At the 29th Film , Frances Ha was nominated for Best Feature and Best Editing for Jennifer Lame's work. In a recent honor, the film was ranked #90 on ' list of the 100 Best Movies of the 21st Century in 2025.

Cultural Impact

Frances Ha significantly boosted Greta Gerwig's career, serving as a breakout role where she starred and co-wrote the screenplay, propelling her from mumblecore roots to mainstream recognition and paving the way for her directorial debut with Lady Bird in 2017. This momentum continued with her adaptations of Little Women (2019) and the blockbuster Barbie (2023), establishing Gerwig as a versatile indie-to-mainstream filmmaker whose personal, character-driven style resonated across genres. The film's success highlighted Gerwig's ability to infuse vulnerability and humor into complex female leads, influencing her evolution into one of Hollywood's most acclaimed directors. The movie's influence extended to indie cinema, inspiring subsequent works like Mistress America (2015), another Baumbach-Gerwig collaboration that echoed its themes of youthful ambition and hustles in a format. It also contributed to a revival of aesthetics in films, evoking influences while capturing the gritty romance of modern urban life, as seen in its crisp visuals that prioritized emotional texture over color. Thematically, Frances Ha shaped millennial-focused narratives in , paralleling the , friendship-driven stories in HBO's Insecure by portraying the and aspirations of young adulthood in relatable, non-linear ways. Culturally, the film became iconic for its depiction of the "hot mess" female protagonist—embodied by Gerwig's endearingly chaotic Frances—and its emphasis on non-romantic friendships as central emotional bonds, challenging traditional rom-com tropes amid 2010s youth culture discussions on instability and identity. In the 2020s, amid Gerwig's Oscar nominations and Barbie's global success, reevaluations positioned Frances Ha as a timeless touchstone for evolving conversations on female autonomy and post-college drift. Post-2015, its streaming availability on platforms like Netflix and Criterion Channel spurred renewed popularity, with the film climbing charts and appearing on "best of" lists, including The New York Times' 2025 ranking of the 100 best 21st-century movies at No. 90.

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