Frances Ha ★★★½

It's a bit hard to get into the mood of Frances Ha, for its intention seems to be projecting any event in the most sudden, random and disconnected way possible. The diverse interactions and daily livings that pass along showcase a lot of what seems to be France's behaviour wherever she goes, but when it comes to the other characters, often flat mates, their real intentions are blurry or misleading—similarly to how many seem to enjoy teasing Frances in an almost insulting manner. Despite her being apparently content with the company she gets, it’s a steady sense of displacement what flows from the screen. How does she naturally put up with that? What makes her so different?
The looseness of the film's parts is a good depiction of the protagonist's roundabouts as she gets herself lost in her life, at the same time when she's making it look the opposite to other people's eyes.

And that's when she, and the whole film, begin to be truly sympathetic. It's when Frances is finally done with the half-acquaintances (with whom she drags herself in various directions) and the inconsequential conversations that her uniqueness begins to take form. From the unlucky bad timings that she regularly falls under, to the phrases and facial expressions that she unawarely repeats, her indentity clearly stands out in any place—and anywhere, regardless of where she goes and who she's with, her circumstances and herself remain the same. Both are part of who she is while she goes through a self-driven seek of what she wants to do, and her own acceptance of it (and the way it's filmed) is one of the most appealing, gradual, "ordinary" character developments I've recently seen.


Frances tries the free spots that are offered to her, but she eventually decides to find one of her own. Not by turning herself to fit the spaces available, but by persevering until she makes room for herself in the environment she always knew was her choice.

After somewhat detached beginnings, what Frances Ha leaves behind is a fuzzy, joyful feeling, like that of "Modern Love" giving sound to the credits, like Frances spinning and dancing while running on the streets… because she wants to.

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