A New York woman (who doesn't really have an apartment) apprentices for a dance company (though she's not really a dancer) and throws herself headlong into her dreams, even as the possibility of realizing them dwindles.
Margot and her son Claude decide to visit her sister Pauline after she announces that she is marrying less-than-impressive Malcolm. In short order, the storm the sisters create leaves behind a mess of thrashed relationships and exposed family secrets.
Jennifer Jason Leigh,
In a dystopian near future, single people, according to the laws of The City, are taken to The Hotel, where they are obliged to find a romantic partner in forty-five days or are transformed into beasts and sent off into The Woods.
Frances lives in New York, but she doesn't really have an apartment. Frances is an apprentice for a dance company, but she's not really a dancer. Frances has a best friend named Sophie, but they aren't really speaking anymore. Frances throws herself headlong into her dreams, even as their possible reality dwindles. Frances wants so much more than she has but lives her life with unaccountable joy and lightness.Written by
Charlotte d'Amboise, who plays the head of Frances' dance company (and whose character describes herself as a former dancer) is in fact a well-known Broadway dancer, with such Broadway shows on her resume as Cats, Chicago, A Chorus Line, and Pippin. She is also the daughter of former New York City Ballet principal dancer Jacques d'Amboise. See more »
The only people who can afford to be artists in New York are rich.
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Shorn of the irrelevant, this is beautiful, touching, real
Frances Ha (2012)
I liked this film in a kind of interested, warm way as it got going. Its black and white simplicity and its regular people both appeal on the most normal level.
The more I watched, however, and the more I absorbed the brilliance of the performance by leading actress playing Frances (Greta Gerwig), I became entranced and stunned. This is a great film. A great independent film, without production pretensions, but held together perfectly within its means.
This is worth making clear—the film makes a virtue of its simple approach. You'll never feel like it's technically compromised. The photography is a subtle, smart black and white. There's even one scene near the end where two people are talking in bed and they chose to use the very minimum of light, so you just barely see their faces. For a long deep conversation. Gorgeous, and effective.
It's Gerwig who steals the movie, for sure. And she helped write the really sparkling, believable, clever but never too-clever script. It's brilliant stuff. Brilliant. She hits a note of fast transparency, a totally "right" dialog and delivery. Way harder than it seems.
And the character she plays, Frances, is one of those lovable types where things don't go quite right even with all the best intentions. Most of us identify with that all too well. We have our better selves and we have the reality of where those good intentions have gotten us. And yet she perseveres. She puts up with strange but not unfriendly people around her in one apartment after another, and we get a glimpse of young New Yorkers with all their minor pretensions. Searing and funny and touching.
Don't be put off by the weird title (the one mistake in making the film) or by the beginning and its slow, restrained monochrome. The film makes the most of it all and is terrific.
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