Richie Schumann’s review published on Letterboxd :
It seems we’ve mastered the clown act and the heights of cinematic escapism within the confides of black and white, and I think Frances Ha is in love w that idea- knows you are too- but adds this gut punch of contrast. Maybe B&W works so well for this because the image is inherently different. We don’t see in black and white! And the only thing we associate it w is film! That’s why the heights feel so ecstatic, which then makes countering lulls, no matter how trivial, as harrowing as any good drama. Introducing such realistic stakes and problems that forcefully rip you from the diversion of film. Like, the most CINEMA head ass things that remind you of the magic™️ contrasted w the stuff that makes you want to get your life together, to stop losing yourself in these stories and make your own. Which perfectly encapsulates Frances’s struggle w romanticizing the future, to only gun for the unattainable means you’ll never pull the trigger. Straight stick (Stars in My Crown 😏, if ya know ya knooow). Sometimes when we have no color the content takes its place, the energy has to be more so that a burst of red is a movement or a needle drop. Frances Ha is just about the most skittle filled mf movie ever and so are those Fred Astaire musicals and so are those cutesy French New Wave’s. But the key difference between those and Frances Ha is the mumblecore influences. This, of course, is the big contrast in content and style that just proves modernizing does not inherently destroy what we’ve achieved prior, nor does it make us forget. No film will ever be as important to me bc no film will ever cover the spectrum of my subjective existential struggles, and joys at that. Ppl always wonder why this is my fave, well it’s bc it’s the greatest movie ever fucking made.