Greta Gerwig was already a prominent, pioneering figure in the “mumblecore” movement before she co-wrote Frances Ha with director Noah Baumbach, but Frances Ha was the starring vehicle that put Gerwig on the map. Universally praised by critics, Frances Ha is a quintessential portrait of an aimless twentysomething figuring things out.
The movie has a perfect balance of laugh-out-loud comedic moments and heartstring-tugging dramatic moments. From “undateable” to “the story of us” to “things that look like mistakes,” Frances Ha is full of quotable lines.
Frances And Sophie Fantasize About Their Future Together
“Tell Me The Story Of Us.”
Throughout Frances Ha, Frances and Sophie frequently recount “the story of us,” the ultimate vision for their future life together. While they’re drifting off to sleep, Frances asks Sophie to “tell me the story of us,” and Sophie says, “We are gonna take over the world.”
With some help from Frances, she starts rattling off the details. Frances will be “this famous modern dancer,” Sophie will be “this awesomely b***hy publishing mogul,” and they’ll co-own a vacation apartment in Paris. Sadly, as soon as Sophie gets a serious boyfriend, this dream dies.
Benji’s Telling Catchphrase
“Frances... Undateable.”
When Frances is living in Chinatown with Lev and Benji, Benji calls Frances “undateable” over and over again. Whenever she does something embarrassing or makes a joke that doesn’t land, Benji calls her “undateable.” This is a classic example of “negging” as Benji is clearly infatuated with Frances.
Their final conversation after Frances’ show, in which they both confess to still being single (using the word “undateable” as code for “available”), suggests a romantic entanglement in their future.
Frances Foreshadows The Climax Of The Movie
“That Is Your Person In This Life.”
At a dinner party in the middle of the movie, Frances describes a moment she’d like to share with a romantic (or non-romantic) soulmate: “You’re both talking to other people, and you’re laughing and shining... and you look across the room and catch each other’s eyes... but not because you’re possessive, or it’s precisely sexual... but because that is your person in this life.”
This rambling monologue sets up the heartwarming climactic scene of the movie, in which Frances shares this exact moment with Sophie. She looks across a crowded room and spots her “person in this life.”
Lev’s Joke Doesn’t Land
“No, I Was Pretending To Be A Liberated Woman.”
Adam Driver gives a hilarious early-career turn in Frances Ha as Lev, the comically arrogant motorcyclist that Frances briefly shares a Chinatown apartment with.
When Frances takes him out to dinner, Lev jokes, “Just because you bought dinner, it doesn’t mean I’m gonna sleep with you.” Completely serious, Frances assures Lev, “I’m not trying to sleep with you,” and he has to explain the joke: “No, I was pretending to be a liberated woman.”
Frances Imbibes The Parisian Culture
“When Did Puss In Boots Start?”
On the spur of the moment, Frances decides to max out a credit card she got in the mail to send herself on a weekend trip to Paris. She stays in the apartment of a dinner guest she only met briefly and plans to imbibe the rich culture of the French capital.
However, she oversleeps because of the timing of the flight and her only friend in Paris doesn’t call her back until she’s in a taxi on the way back to the airport. During her uneventful jaunt around Paris, Frances stops at a movie theater and asks the ticket seller, “When did Puss in Boots start?”
After Sophie Demotes Her Friendship With Frances
“Don’t Treat Me Like A Three-Hour Brunch Friend!”
When Sophie gets serious with her boyfriend Patch, Frances grows bitter and resentful of her relationship because it gets in the way of their friendship. She hardly ever gets to see Sophie, and when she does, she only has a couple of hours free before darting off to another engagement.
On top of that, Patch shows up at a lot of the social events that Frances invites Sophie to, much to Frances’ chagrin. At a bar with Sophie and Patch, Frances snaps and says, “Don’t treat me like a three-hour brunch friend!”
Being Tall Is Frances’ Shortcoming
“I’m Too Tall To Marry.”
Frances’ dwindling hope of ever being reunited with Sophie is dashed when Sophie gets engaged to Patch. When she’s married, Frances will see her even less.
Sophie believes that Frances should also get married, but Frances believes she’s “too tall to marry.” This one-liner is indicative of the self-doubt and insecurities that define Frances’ personality and hold her back throughout the movie.
Frances Describes Her Creative Process
“I Like Things That Look Like Mistakes.”
In the final act of Frances Ha, Frances finally manages to turn her life around when she funnels her energy into a creative project. Encouraged by Colleen at her old dance company, Frances puts on a dance show of her own and invites all her friends to the premiere.
After the show, Benji compliments Frances’ craft and she tells him, “I like things that look like mistakes.” Frances’ description of her creative process also accurately describes Gerwig’s own spontaneous, naturalistic, lifelike brand of dialogue.
Sophie’s Love Is Conditional
“I Love You, Sophie, Even If You Love Your Phone That Has Email More Than You Love Me.”
Early in the movie, Frances tells Sophie, “I love you, Sophie, even if you love your phone that has email more than you love me.” Sophie counters that her phone with email “doesn’t leave a casserole dish in the sink for three days.”
Frances snaps back, “What about the time that you made a cake!?” This line brings back haunting memories of the culinary endeavors of past roommates.
Frances Sums Up The Struggle Of Every Aimless Twentysomething
“I’m Not A Real Person Yet.”
When Frances gets an unexpected tax rebate, she invites Lev out to dinner. But, unfortunately, her card is rejected at a restaurant. So, Frances ends up on a wild goose chase around New York in search of an ATM (and returns with a bloody arm after falling on the sidewalk).
Frances confesses to Lev, “I’m so embarrassed, I’m not a real person yet.” This line perfectly summarizes the feeling of being an aimless twentysomething struggling to adjust to adulthood.