Mickey Sumner and Greta Gerwig as seen in FRANCES HA, a film by directed by Noah Baumbach. Copyright Pine District, LLC. Picture courtesy IFC Films. All rights reserved.
- Charlotte d'Amboise
- Adam Driver
- Hannah Dunne
- Michael Esper
- Grace Gummer
- Patrick Heusinger
- Josh Hamilton
- Cindy Katz
- Maya Kazan
- Justine Lupe
- Britta Phillips
- Juliet Rylance
- Dean Wareham
- Michael Zegen
* Most external filmography links go to The Internet Movie Database.Home/Social Media Links
Frances Ha (2013)
Opened: 05/17/2013 Limited
|IFC Center||05/17/2013 - 10/24/2013||161 days|
|Lincoln Plaza||05/17/2013 - 08/01/2013||77 days|
|The Landmark||05/17/2013 - 06/13/2013||28 days|
|Arclight/Holly...||05/17/2013 - 06/13/2013||28 days|
|Kendall Square||05/24/2013 - 07/25/2013||63 days|
|Playhouse 7||05/24/2013 - 06/27/2013||35 days|
|Town Center 5||05/24/2013 - 06/20/2013||28 days|
|AMC Empire 25||05/31/2013 - 06/13/2013||14 days|
|Monica 4||06/07/2013 - 07/07/2013||31 days|
|NoHo 7||06/07/2013 - 06/20/2013||14 days|
|Claremont 5||06/07/2013 - 06/13/2013||7 days|
|Regent Theatre||06/14/2013 - 06/20/2013||7 days|
|Music Hall 3||07/05/2013 - 08/15/2013||42 days|
Trailer: Click for trailer
Rated: R for sexual references and language.
Frances (Greta Gerwig) lives in New York, but she doesn't really have an apartment. Frances is an apprentice for a dance company, but she¹s not really a dancer. Frances has a best friend named Sophie, but they aren't really speaking anymore. Frances throws herself headlong into her dreams, even as their possible reality dwindles. Frances wants so much more than she has but lives her life with unaccountable joy and lightness. FRANCES HA is a modern comic fable that explores New York, friendship, class, ambition, failure, and redemption.
"Grand, romantic and generous." -- Joy Dietrich, The New York Times
"One of the most surprising, endearing, funny and uplifting films of the year. Greta Gerwig is a revelation." -- Julie MacArthur, The Huffington Post
"Exhilarating. A terrific new film. This is unquestionably Gerwig's defining performance to date." -- Todd McCarthy, The Hollywood Reporter
"Greta Gerwig is at her incandescent best." -- Ann Hornaday, Washington Post
"Sharp and witty...Gerwig's kinetic performance of the title role reveals her to be a nimble comedian, perfectly balancing mortification and bravado." -- Melissa Anderson, Village Voice
"Beautiful. A fleet-footed, black-and-white New York story about a young woman in crisis that turns self-consciousness into an exalted form of authenticity." -- A.O Scott, The New York Times
"Delightful. A witty treasure." -- Caryn James, IndieWIRE
"Endearing and hilarious. Greta Gerwig gives her most appealing performance yet." -- Nigel Smith, IndieWIRE
"Does for Brooklyn what Manhattan once did for Manhattan. Baumbach & Co. make Frances Ha seem as fresh as a spring morning on Smith Street." -- David Fear, Time Out
"This is our movie." -- Nick Pinkerton, The Village Voice
"A film of total freedom. Greta Gerwig is a revelation. Her Frances Ha may be the most hopeful, ebullient character Noah Baumbach has ever put on screen." -- Scott Foundas, Variety
"Sublime. An enchanting riff on friendship and the late-20-something right of passage into true adulthood. One of Baumbach's most accessible and joyous works." -- Rodrigo Perez, IndieWIRE
"So, so funny...Gerwig is terrific. -- Scott Tobias, The AV Club
"Greta Gerwig's Frances is a convincing, winning creation, an earnest and awkward apprentice dancer struggling to find a foothold on the edge of adulthood in New York." -- Victoria Ellison, Los Angeles Weekly
"Captures the highs and lows, the unintentional competition and unconditional love of a female friendship." -- Filmmaker Magazine
"Greta Gerwig shines." -- John Horn, Los Angeles Times
"An unabashed valentine to both Greta Gerwig herself and her plucky fellow twenty somethings." -- Tom Carson, GQ
"Gerwig is so winning and optimistic here she makes struggling seem way more fun than having your life together." -- Kyle Buchanan, New York Magazine
"The revelation in Frances Ha is Gerwig and what she brings to the screenplay and screen. Frances and thus the film in general have this subtle realness to them; you know this girl or maybe you kind of were this girl." -- Ann Marie Baldonado, NPR
"A must see. A celebration of the ferocity of female friendship in all its intensity and richness. Mickey Sumner is wonderful." -- Diane Solway, W Magazine
"Hilarious. Profound as it is whimsical." -- Jesse Hawthorne Ficks, San Francisco Bay Guardian
About the Production
Frances (Greta Gerwig) the exuberant 27-year-old heroine of Noah Baumbach's new comedy, FRANCES HA, is always on the move without ever seeming to get anywhere. The truth is she knows exactly where she wants to go, she's just unwilling to make the kind of compromises that might get her there. A fount of optimism, Frances is singularly compelling because she never lets anything--including reality--slow her down.
Sparked by a notion Noah Baumbach had for a story about a woman in her late twenties in New York, Baumbach and his star and co-screenwriter Gerwig passed ideas and themes back and forth via email. "I was thinking about a role for Greta initially, says Baumbach, "as I wanted to work with her again after GREENBERG, but I was also thinking about portraits of youth in films like the ones Truffaut and Rohmer did, many of which were in black and white." Baumbach and Gerwig had a unified sense of how they wanted the story to go. "I don't think either one of us ever had a moment when we said 'I didn't see it going this way, but let's try it,'" says Gerwig, who, previous to FRANCES HA, had written two plays and had co-authored screenplays. "It was more like everything grew naturally out of an unexpressed, mutual understanding of what the film wanted to be." Says Baumbach: "when you write something together, you forget who wrote what after a while--it all fuses into one." Gerwig saw the script as a collaboration in the truest sense of the word: "I think it's more of an alchemy of sensibilities, where two things are combined that are totally different--when they make something it's not just a combination of the two, it's greater than the sum of its parts."
While Gerwig maintains that Frances isn't her, or even a sublimated version of herself--all the same she had effortless access to devising her character. "It's like there was another person inside me waiting to be written and acted," she says. "She came into the world just fully walking and talking, with her mannerisms and behaviors, what she wore and what she wanted. I really feel like I can't take credit for it, or account for it in any real way, because it felt like it was just waiting to be realized. Of course, I am going to take credit for it!"
At the start of the film, Frances (Gerwig) is living a life of seeming bliss with her roommate, Sophie (Mickey Sumner), who has been her best friend since college. Frances and Sophie have a relationship that has lasted longer and is more intimate and loving than any relationship either of them have had with men. Frances likes to describe them as being like "an old lesbian couple that doesn't have sex anymore." Says Baumbach: "Boyfriends have come and gone in their lives, but they have been constants for each other, more important than their romantic relationships."
What Frances hasn't picked up on is that Sophie's life has started developing and moving in a way that hers hasn't. She is more practical and wants a career, and a serious relationship with her boyfriend Patch (Patrick Heusinger). "Sophie is more clearly goal-directed than Frances is," says Gerwig. "She's better at looking at the world and seeing her realistic options, and Frances struggles when she's given the parameters of reality. She wants to listen to her heart first."
When Sophie abruptly announces that she's moving out of their apartment, Frances is shocked and emotionally shattered. The only way she can cope with it is to refuse to believe it actually happened and that she'll be able to convince Sophie that she's making a mistake and things will return to the way things were before. "Frances is pushing against reality in an unconstructive way, and it defeats her," says Gerwig. "She's like someone who is trying to open a door when there is a window open to climb through. You can say, 'there's another way,' but she can't give up the idea of 'I want to go this way.'"
Frances is just as stubborn when it comes to her career as a dancer. As evidence mounts that she is unlikely to ever advance from apprentice to principal member of her dance company, she refuses to accept it. "I've always felt that dance is a potent metaphor for things that have an expiration date," says Gerwig. "I've known a lot of apprentice dancers who reach a point where they've been doing it for years, and it becomes clear that they'll never be part of the company. Suddenly the life they've been preparing for is not the life they're going to get, and then what do they do?"
Sophie's departure sets Frances meandering through half a dozen apartments, and many cities. "I like to think of FRANCES HA as a road movie with apartments," says Baumbach. "Although Frances is moving places constantly, she's refusing to move forward in other ways, and I like the dichotomy of the character and the story: Frances is refusing change; she's stamping her foot, demanding that things be as they were." Unwilling to invite a new roommate into the Brooklyn nest they once shared, Frances stumbles across a room in a large apartment with two well-to-do acquaintances, Lev (Adam Driver) and Benji (Michael Zegen). While she can't afford the rent, she negotiates a temporary rate that she promises to supplement through her future earnings as a dancer. When the dance work doesn't come through, Frances finds herself basically homeless, so she puts her belongings in storage and heads off to Sacramento to visit her parents. "It was very important to Greta and me that Frances' economic situation be very real," says Baumbach. "I think Frances deciding whether or not to pay the extra $3.50 on her ATM charge is a major consideration for her and the movie takes time to present that." Not being able to stay at home forever, Frances returns to New York, where she crashes with Rachel (Grace Gummer), a principal dancer in the company that Frances apprentices with. While at a dinner party with some of Rachel's friends, Frances finds out that Sophie is moving to Tokyo, and hears a casual mention of an apartment in Paris owned by one of the guests. For reasons known only to herself, Frances takes a hasty trip to Paris, an action that is truly beyond her means. Now that her money has really run out Frances decides to move back to her alma mater Vassar College in Poughkeepsie, New York, for a summer job. "At that point Frances feels like she's been cast out of society," says Gerwig. "She feels like she's wandering in the wilderness, and so it seemed fitting to literally put her in the woods near Vassar.
Frances' habit of moving so frequently is only one of the things thwarting her development. "There are certain filters that she does not have," says Baumbach. "She doesn't always seem to be aware of her audience. She says she finds it funny how people talk about their kids--in front of people who have kids. I think she tends to assume that she has a sympathetic ear when sometimes she doesn't, but it's never mean-spirited." Frances also has a certain obliviousness to things that are going on with the people in her personal life--like any evidence of Sophie's increasing discontent--as well as her professional life, as when she rushes back from Paris for a meeting that could easily be rescheduled. Says Gerwig: "So much of what Frances goes through is externalized, and sometimes she doesn't remember that other people don't always say what they feel, or express what they feel."
While tracking Frances' wanderings, the interactions between Frances and Sophie in the present gradually reveal more and more about what their relationship was like in the past. "The challenge of the screenplay was to create forward momentum and then at the same time reveal both what is special and working in the dynamic between Frances and Sophie, and what needs to be fixed," says Baumbach. While Frances has flashes of anger, unreasonableness, and neediness, she puts everything out in the open; Sophie is more internal, distant, notably in the way she springs the news about moving out while they're on the subway. "I know Sophie really loves Frances; it's just that she doesn't love her too much at this point in her life," says Baumbach. "That kind of relationship is less important to her right now than it is for Frances. I think as the movie goes on you can retrospectively understand how it would be hard for Sophie to tell Frances that she's moving out."
While certain aspects of Frances' temperament are peculiar and self-defeating, there is also a part of her that is vivacious and irresistible. "She is open to life at the same time that she's seduced by fantasy," says Baumbach. "The scene of her running in the street in Chinatown with David Bowie on the soundtrack isn't just a moment in the movie, it's actually a representation of her ability to feel joy." Frances also has a dogged persistence to her--when she falls down--which often happens literally as well as metaphorically--she jumps up right on her feet again. "There's a certain Charlie Brown aspect to her, but without the sort of depressive nature of Charlie Brown," says Baumbach. "There's no 'good grief' with Frances."
For a film about such a contemporary subject, Baumbach made the offbeat choice of shooting the film in black and white and using music from Georges Delerue, composer of such sixties classics as Truffaut's JULES AND JIM and SHOOT THE PIANO PLAYER. "The movie is about, in some ways, how an 'ordinary life' is actually extraordinary," says Baumbach. "I wanted that for Frances and for the movie--a style that had a certain kind of elevated movie beauty. The black and white underscored that, and I wanted music that felt big, lush and romantic." Baumbach adds: "there's something about the black and white and the look and feel of the movie that's both old and new at the same time--it both evokes another time and is also totally timeless." Gerwig says the black and white reminds her of the strips of pictures that come out of photo booths. "Me and my friends would go to the State Fair in the summer and take those pictures," she says. "There was something instantly sad about them even while they were happening. They felt like something that was both nostalgic and of the moment. I remember getting them out and looking at them and already feeling like I'm going to be old one day looking at them. I think that was the feeling we were going for."
Most of the filming for FRANCES HA took place in August and September of 2011 in New York City, with a hiatus before filming in Paris (late November), Sacramento (late December), and with additional shooting in the spring of 2012. "We built our schedule in a way that if we didn't feel we got something, we could go back and do it again," says Baumbach. "These breaks also allowed Greta and me to think about scenes and the movie as a whole, look at footage and change things if we needed to." Baumbach adds: "In some ways knowing you have the time takes a certain amount of stress off you, so you can actually do the work in a way that is not radically different than how you'd do another movie--you just don't have the anxiety."
The actors in the film weren't ever shown the entire screenplay, only the scenes that involved their characters, and these scenes were only doled out to them around the time they played them. "I think it can be hard for actors on a long movie shoot, no matter how experienced, not to sometimes play a scene as it falls in the movie, versus the scene in how it falls for their character," says Baumbach. "This is particularly true towards the end or at a turning point in the story. I just felt like this was an opportunity to try it another way, and only let the actors know the movie from their perspective, and the scenes from their perspective." Says Mickey Sumner, who plays Sophie: "At the beginning I was a little frustrated and wanted to know everything, but by the third day I realized that it was actually a very good way to work. I didn't have to stress about what was coming up; I could stay very present and in the moment, and just focus on the day's work. We mostly shot chronologically and there were things I didn't need to know and it was interesting when new information would come up, like: 'That's my last name? I'm Jewish?'"
Although Baumbach had collaborated on the screenplay with Gerwig, and knew the lines backwards and forwards, watching her perform as Frances proved to be a totally different experience. "Greta would say a line or have a reaction in the scene that was both totally unexpected to me, and at the same time totally what I wanted but couldn't articulate," says Baumbach. "As an actor she's very much in the moment. There's nothing planned, or at least nothing feels planned. And then she has the technique and craft to do it again for another nineteen takes which is also necessary when you're making a movie in this fashion." Baumbach feels that one of Gerwig's greatest virtues, as both a writer and an actress, is her sense of humor: "She's one of the funniest people I know, and more importantly, when she acts she's funny in a way where it doesn't feel like she's doing comedy. She can be Frances and be really funny--but it's Frances who's being funny, not her. She never sells out the character for a joke."
Gerwig felt motivated to do her absolute best because of Baumbach's perfectionism as a writer and director: "There's so many colors and nuances that we tried to get with every take that he pushed me to ask a lot more of myself than I had asked of myself before," she says. "I really deepened as a film actor through working with him. I developed a lot more stamina for creating a performance over a long period of time. It really is like running a marathon." Gerwig felt he had the same perfectionism as a writer that he did as a director. "He wanted to make everything as perfect as it could be--to make every moment, every line, every choice as fully realized as it can be, and then doing it again and again and again."
While the role of Sophie is quieter and less ostentatious than Frances, it is no less crucial. It was important that they be able to give off the impression that they had known each other for years. After auditioning a lot of people, Baumbach and Gerwig chose Mickey Sumner. "There were lots of amazing actresses who came in to read," says Gerwig, " but Mickey had something that was special--she didn't overplay it. She didn't make a weird voice, or pretend like we were really close friends; she just treated me like you would treat a close friend--without a lot of bells and whistles, just kind of honestly." Gerwig continues: "She also played Sophie with a kind of impenetrable quality, that I think really works, because you can understand how frustrating she was for Frances, because she's kind of hard to read in some scenes." As Baumbach's approach was to not over plan the movie, Sumner came into the film with little contact with Gerwig before shooting. Still, she didn't find it difficult to create the appearance of a long-term friendship: "Greta is such a wonderful human being to be around, so it's very easy to fall in love with her--and I did. I think it's lovely when you play friends and then you become friends."
FRANCES HA is in many ways a love story between two best friends. Frances loses Sophie, and then struggles obsessively and unsuccessfully to get her back. What she doesn't understand is that she hasn't lost Sophie at all, she just hasn't figured out how to be friends with Sophie in a new way. "Their lives are on different trajectories," says Sumner. "Sophie is falling in love with her boyfriend Patch. He may or may not be the right person for her, but she loves him, and is trying to make it work. Frances' problem is that she wants their relationship to be the way it was. The movie's about growing up, and about moving from that awkward position of college where you're still like a kid, into womanhood, where you're making adult choices. And it's awkward and painful and I know from myself, there are some people you were friends with in college who are no longer part of your life."
While Sophie is more practical than Frances, and seems to have her life plotted out, things don't always turn out as perfectly as she had hoped either. "There are glitches in Sophie's plan, and things happen that make her have to reevaluate her situation," says Sumner. "This leads her back to Frances or rather it leads them back to each other." Says Baumbach: "in order for Frances to really be a good friend to Sophie again, she has to come to another point--she has to develop, she has to mature, and be okay with herself."
Most contemporary movies about twenty-somethings tend to focus on the ways the current generation differs from previous ones, but Baumbach doesn't believe that is really true: "They may have cell phones and the internet, but they have the same commitment to friendship, and the same money and work issues that my friends and I had at that age." Baumbach suggests this timelessness by photographing the modern New York in black and white and it's this offbeat conjunction of time and style that breathes new life into our perception of FRANCES HA and makes it unexpectedly new. Also, by imbuing the story with the emotional resonance of fondly remembered classic films, Baumbach doesn't artificially raise Frances' stature so much as he reveals her in all her exuberant, unstoppable glory. "I wanted to give Frances a grand cinematic portrait," says Baumbach. With FRANCES HA, he has done exactly that.
About Noah Baumbach
Noah Baumbach's films as a writer and director include KICKING AND SCREAMING, THE SQUID AND THE WHALE, MARGOT AT THE WEDDING, and GREENBERG.
Mr. Baumbach received an Academy Award nomination for his original screenplay THE SQUID AND THE WHALE. The picture premiered at the 2005 Sundance Film Festival, where he was honored with both the Directing Award (in the Dramatic features category) and the Waldo Salt Screenwriting Award. The script also earned him Best Original Screenplay awards from the New York Film Critics Circle, the National Society of Film Critics, the National Board of Review, the Toronto Film Critics Association, and the Los Angeles Film Critics Association. The film was on over 150 Top Ten lists, including AFI's 10 Best of the Year. THE SQUID AND THE WHALE received three Golden Globe Award nominations, including Best Picture (Musical/Comedy); and six Independent Spirit Award nominations, including Best Picture, Best Director, and for actors Jeff Daniels, Laura Linney, and Jesse Eisenberg.
MARGOT AT THE WEDDING premiered at the Telluride Film Festival in 2007 and played at the Toronto International Film Festival and the New York Film Festival. The picture was released by Paramount Vantage and received Gotham Award nominations for Best Film and Best Ensemble Cast. Jennifer Jason Leigh earned an Independent Spirit Award nomination for her performance opposite Nicole Kidman and Jack Black.
In 2010, GREENBERG premiered at the Berlin International Film Festival. The film was released by Focus Features and received a Gotham Award nomination for Best Breakthrough Actress for Greta Gerwig and four Independent Spirit Award nominations including Best Feature, Best Male Lead for Ben Stiller, and Best Female Lead for Greta Gerwig.
With director Wes Anderson, Mr. Baumbach co-wrote THE LIFE AQUATIC WITH STEVE ZISSOU and FANTASTIC MR. FOX (the latter adapted from the novel by Roald Dahl).
He directed the shorts CLEARING THE AIR and NEW YORK UNDERGROUND which he co-wrote with Bill Hader and Fred Armisen for Saturday Night Live.
He is also a contributor of humor pieces to the "Shouts and Murmurs" section of The New Yorker.
About Greta Gerwig
Greta Gerwig has rapidly emerged as one of Hollywood's most engaging actresses.
Most recently, Gerwig starred in Woody Allen's TO ROME WITH LOVE opposite Alec Baldwin, Jesse Eisenberg and Ellen Page. The all-star cast also included Penelope Cruz, Roberto Benigni, Judy Davis and Allen. Gerwig also recently starred as the lead in Whit Stillman's comedy DAMSELS IN DISTRESS and as the title character of "Lola" in Fox Searchlight's LOLA VERSUS.
Gerwig first received critical acclaim for her breakout role as "Florence" in GREENBERG, which marked her first collaboration with writer/director, Noah Baumbach. In the film, she starred opposite Ben Stiller and her performance earned her several nominations including a Gotham Award nomination for Breakthrough Performance and an Independent Spirit Award nomination for Best Female Lead. Gerwig then went on to star alongside Russell Brand and Helen Mirren in the comedy ARTHUR, which she followed with a supporting role in the romantic comedy NO STRINGS ATTACHED with Natalie Portman and Ashton Kutcher.
A darling of the independent film scene, Gerwig's prior credits include Ti West's art-house horror film HOUSE OF THE DEVIL and the Duplass brothers' genre-bender BAGHEAD. She has twice collaborated with director and actor Joe Swanberg, first on HANNAH TAKES THE STAIRS as a writer and actress, and then for NIGHTS AND WEEKENDS, which she also co-wrote and co-directed.
Gerwig graduated magna cum laude from Barnard College, and currently resides in New York City.
About Mickey Sumner
Mickey recently made her Off-Broadway and Atlantic Theater Company debut in Craig Lucas's world premiere play The Lying Lesson opposite Carol Kane, directed by Pam McKinnon. Sumner appeared on the New York stage in the Culture Project workshop of The Seagull (directed by Max Stafford-Clark). Other theater credits include the recent 24 Hour Plays on Broadway, Tomorrow Morning (HB Playwrights Foundation), Hillbilly Women and Rumspringa. London credits include Think Global, F**k Local at The Royal Court. Television includes a recurring role in the Showtime series "The Borgias" (Season 1). Film includes the co-starring role opposite Greta Gerwig in Noah Baumbach's film Frances Ha (2012 Toronto Film Festival, 2012 New York Film Festival and 2012 Telluride Film Festival) which will be released by IFC in May, a cameo role as iconic rocker Patti Smith in CBGB with Alan Rickman, the lead role in Missed Connections (Winner of the Sarasota Film Festival Audience Award 2012, opening night film of the 2012 Gen Art Film Festival in NYC, winner of Gen Art's Audience Award, and winner of the Savannah Film Festival Audience Award), Girl Most Likely (2012 Toronto Film Festival) to be released by Lionsgate this summer, I Have No Hold on You, This is not an Umbrella and We're going to the Zoo (Red Bucket Films). Born and raised in England, she currently lives in New York City, having graduated with a B.F.A. from Parsons School of Design in 2007.