Frances (Gerwig) is an aspiring dancer in New York City with no real plan, bouncing between apartments, friendships, and awkward adulting milestones. Shot in luminous black-and-white and edited with a breezy rhythm, the film feels like a modern, indie take on French New Wave classics—but with an undeniable 2010s Brooklyn spirit.
What makes Frances Ha a perfect rewatch is its emotional honesty. Frances isn’t a cautionary tale; she’s a celebration of chaos and resilience. Her failed auditions, strange career detours, and messy friendships all feel endearingly real. Instead of glamorizing “making it,” the film celebrates those in-between moments where you have no idea what you’re doing—and that’s okay.
Gerwig’s luminous performance brings a lightness that could easily turn maudlin in another actor’s hands. There’s a rawness to Frances’ life, but also a buoyant charm, best captured in scenes like her running-dancing through New York to David Bowie’s “Modern Love”—a shot of pure indie movie joy.
This Sunday, revisit Frances Ha and let it remind you: it’s fine to be a little lost. Maybe even beautiful.
