Of course Frances Ha (like Mistress America) has a point, quite a few in fact. But you are not spoonfed the point like you are an infant.
In Frances Ha, you are shown two women: Sophie seems responsible and has made the right decisions in her life. She has a worthwhile and meaningful job, decides to live in the coolest neighborhood in Manhattan, and she has a steady and successful boyfriend she has committed to and grown to love. She is the adult of the couple.
Frances, on the other hand, is an object of derision. She makes ridiculous choices, culminating in the nonsensical rush off for a weekend in Paris that she can ill afford and can't possibly enjoy. Even the dimmest member of the audience at this point is rolling their eyes at Frances.
But all of her bad decisions don't really amount to much. Not really. None of them afffect her life forever. Meanwhile, Sophie quits her great job, abandons coldly her dear friend just to live someplce 'cooler', goes off to Tokyo where she doesn't want to live, and marries someone who means far less to her than her friend for the sake of convenience.
Baumbach sets the audience up for expectations based on their prejudices. That's the essence of Frances Ha. No matter how open minded you are, it so easy to get trapped by doing the 'right' thing that you lose sight of the true thing.
In Mistress America, which I don't like as much, you are given a character that looks like she is fooling herself. This could be said of a generation. But in reality she is not even doing that. She knows the score more than anyone. And that makes Mistress America (and many others) sad, despite the lightness of the Nouvelle Vague approach. We are not even fooling ourselves.
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