In April 2012, the film was announced though Baumbach's involvement was not revealed until the film's listing in the Telluride Film Festival's lineup. Gerwig had starred in Baumbach's Greenberg, and they decided to collaborate again. They exchanged ideas, developed characters, and eventually co-wrote the script. Gerwig has stated that she did not anticipate starring in the film as well, but Baumbach thought she suited the part. Principal photography took place in Sacramento, California; New York City and Poughkeepsie, New York; and Paris, France. The film was shot in black and white to "boil it down to its barest bones," and create an immediate "history" & "a kind of instant nostalgia." In addition, it was also shot as low-key & covertly as possible under the working title of Untitled Digital Workshop. Contrary to the movie's improvisational feel, the actors followed a very tightly-written script with little to no deviation.
The film stars Gerwig; in the title role, Mickey Sumner, Charlotte d'Amboise, Adam Driver, Michael Zegen, Michael Esper, Grace Gummer, Patrick Heusinger, and Maya Kazan. The title character is a fantastically complex part to play, but Gerwig's performance is superbly nuanced, convincing and brave.
Although the film sometimes drags (especially for one with a eighty-six minute run time), Baumbach and Gerwig scored a mutual coup with the film. Their sharpest observations are reserved for preternaturally intelligent, hyper-self-conscious outsiders whose existential crises are the failure of the world-and, to some extent, themselves-to live up to their own high expectations. The indignities of modern life that the title character can't bear are peculiarly American. And so is this thoughtful and hilarious film, though some might feel its arty moments and lack of action seem more European. It is a painful, funny, truthful read on our own times and a peculiar and distressing moment that often happens at 30 or 40 or 50. On balance, I found my feelings for the film running hot and cold, as if I was being been infected by the protagonist's jagged mood swings. A good sign, I guess. But that's the thing about a misanthropic movie. However, this is a sunny, prosperous film, full of bright light and outdoor New York exteriors, casual hospitality and people going out to dinner; but its problems are not external villains. It's the internal demons which menace. Thanks to Baumbach's sharply witty dialogue and poignant performance from Gerwig, you can't help but root for this lost soul to find her happy ending.
Simon says Frances Ha receives:
Although the film sometimes drags (especially for one with a eighty-six minute run time), Baumbach and Gerwig scored a mutual coup with the film. Their sharpest observations are reserved for preternaturally intelligent, hyper-self-conscious outsiders whose existential crises are the failure of the world-and, to some extent, themselves-to live up to their own high expectations. The indignities of modern life that the title character can't bear are peculiarly American. And so is this thoughtful and hilarious film, though some might feel its arty moments and lack of action seem more European. It is a painful, funny, truthful read on our own times and a peculiar and distressing moment that often happens at 30 or 40 or 50. On balance, I found my feelings for the film running hot and cold, as if I was being been infected by the protagonist's jagged mood swings. A good sign, I guess. But that's the thing about a misanthropic movie. However, this is a sunny, prosperous film, full of bright light and outdoor New York exteriors, casual hospitality and people going out to dinner; but its problems are not external villains. It's the internal demons which menace. Thanks to Baumbach's sharply witty dialogue and poignant performance from Gerwig, you can't help but root for this lost soul to find her happy ending.
Simon says Frances Ha receives:
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