Film
Frances Ha
Noah Baumbach and Greta Gerwig's black-and-white portrait of a woman who can't quite become an adult on schedule. Frances is a dancer without a company, a best friend without a friend, drifting between sublets while everyone around her pairs off and moves on. It's funny, a little painful, and shot with a lightness that makes the ache sneak up on you. For anyone who's ever felt behind.
If you liked this
Lady Bird2017
Gerwig's directorial debut has the same generous eye for a messy, self-sabotaging young woman, just aimed at a teenager instead of a twentysomething adrift in New York.
But It's warmer and tidier than Frances Ha — less formally playful, more conventional coming-of-age structure.

Girls2012
Adam Driver again, plus the same milieu of broke, ambitious, faintly ridiculous twentysomethings in New York, stretched across six seasons of cringe and grace.
But Lena Dunham's characters are more abrasive and the show leans harder into discomfort than Baumbach ever does.

Mistress America2015no page yet
Same director, same star, same jittery affection for people who talk faster than they think — a spiritual sequel in spirit if not in plot.
But It's screwier and more farcical, trading Frances Ha's melancholy for something closer to a caper.
The wildcard
Something you would not have found on your own.
Cléo from 5 to 71962
Frances Ha's black-and-white photography, jump cuts, and aimless-woman-in-a-city structure are a direct homage to this — go to the source.
Agnès Varda's real-time portrait of a woman wandering Paris, killing time before possibly devastating news, is the French New Wave template Frances Ha is quietly bowing to — black and white, restless, alive to the city as a character.
But Subtitled and slower by design; the stakes (a medical diagnosis) are far graver than anything in Baumbach's film.

More like this (8)
Tiny Furniture2010
Lena Dunham's shoestring debut about a directionless grad moving back into her mother's loft shares the DNA — low stakes played for real feeling, shot on a budget that shows and doesn't matter.
But Rougher and more claustrophobic; the humor is drier and the film has less visual pleasure than Baumbach's.

Manhattan1979
The black-and-white New York romance Frances Ha is in conversation with — same city, same jazz-scored ache, same idea that your twenties and thirties can feel like a rehearsal for a life that hasn't started.
But Woody Allen's persona and the film's now-uncomfortable age-gap romance are a real barrier for a lot of viewers.

The Squid and the Whale2005
Baumbach before Gerwig softened him — sharper, sadder, about a family instead of a friendship, but the same precise ear for how people wound each other while trying to be honest.
But Considerably bleaker; there's little of Frances Ha's buoyancy to cushion the hurt.

Obvious Child2014no page yet
Another scrappy, funny New York indie about a woman whose life is falling apart in small, unglamorous ways, told with the same refusal to be either tragic or twee about it.
But The central plot (an unplanned pregnancy) gives it a heavier hook than Frances Ha's looser drift.
Support the Girls2018no page yet
A quieter, less-seen gem about work, female friendship, and holding yourself together on a bad day — Andrew Bujalski's naturalism scratches a similar itch.
But Set in a sports bar rather than the art world, so the milieu and stakes feel more modest and less romantic.
Fleabag2016
A messier, funnier, more devastating cousin — another woman narrating her own disaster with wit sharp enough to distract you from how sad it actually is.
But Far more confrontational and formally daring, with a directness to camera that Frances Ha never attempts.

Wendy and Lucy2008
Same engine as Frances Ha — precarity, friendship fraying, a woman falling slightly out of her own life — played completely straight instead of for laughs.
Kelly Reichardt strips the same premise — a young woman drifting, broke, losing her footing and her only real companion — of every joke, leaving something quieter and much harder to shake.
But There's almost no comic relief here; it's a hushed, minor-key drama that asks for patience rather than delight.

Paterson2016
Same actor, opposite register — watching Driver play serene rootedness right after (or before) his jittery Lev shows off the range Frances Ha only hints at.
Adam Driver again, but inverted entirely: a bus driver and poet whose quiet, contented life is the polar opposite of restless Lev, and of Frances's chaos too.
But Almost nothing happens by design; if you need forward motion or conflict, this will feel frustratingly still.

People
Cast
Greta GerwigFrances Halladay
Mickey SumnerSophie Levee
Michael ZegenBenji
Adam DriverLev Shapiro
Charlotte d'AmboiseColleen
Patrick HeusingerReade "Patch" Krause
Grace GummerRachel
Josh HamiltonAndy
Maya KazanCaroline
Justine LupeNessa
Britta PhillipsNadia
Directing
- Noah BaumbachDirector
- Sasha VitelliScript Supervisor
Writing
- Greta GerwigWriter
- Noah BaumbachWriter
Production
- Douglas AibelCasting
- Henry Russell BergsteinCasting Associate
- Eli BushCo-Producer
- Oscar BoysonCo-Producer
- Fernando LoureiroExecutive Producer
- Lourenço Sant'AnnaExecutive Producer
- Jonathan UrbandLocation Manager
- Martin ScaliLocation Manager
- Lila YacoubProducer
- Noah BaumbachProducer
- Rodrigo TeixeiraProducer
- Scott RudinProducer
- Robert WagnermanProduction Assistant
- Anna Adams StarkProduction Coordinator
- Tyson BidnerProduction Supervisor
- Lila YacoubUnit Production Manager
Recommended by
Sex and the City, Girls, Girlfriends, Lady Bird, Tiny Furniture, Broad City, Marty, 20th Century Women, Annie Hall, Inside Llewyn Davis, Cléo from 5 to 7, Ralph Breaks the Internet, The Worst Person in the World, Fallen Leaves, Stolen Kisses, Once, The Souvenir, Manhattan, New York Stories