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"Frances Ha"
Frances, Greta Gerwig’s ne’er-do-well late twenty-something in the film she co-wrote with Noah Baumbach, “Frances Ha,” has trouble leaving places. She’ll assuredly tell you that with a mix of sheepish indignity and coquettish charm. She lags about and takes her time, never quite vacating spaces or frames of mind or maybe even parts of her life others think she should have well departed at her age. Twenty-seven
is old though, remarks her roommate Benji at one point.
Frances, too, is having trouble leaving where her friendship with Sophie (Mickey Sumner) used to be and entering where it is currently, as Sophie’s relationship with her boyfriend grows more serious. A circuitous, but no less inevitable dissolution of Frances and Sophie’s relationship is captured between the thumb and forefinger of Noah Baumbach and Greta Gerwig’s perceptive screenwriting, from the last good day to a regrettable night drunk on fancy vodka, facing one’s mirror with one’s foot on the ground to stop the room from spinning. Living situations change. Hangouts are shorter. And Frances is forced to transmogrify into a third wheel, during which there is an awkward scrimmage for power.
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