Noah Baumbach has been a polarizing filmmaker since he burst onto the scene with his first high-profile feature, 2005's The Squid and the Whale. Aside from launching Jesse Eisenberg's career, that effort also familiarized the film world with Baumbach's quirky indie voice. While like nails on a chalkboard to some -- see critical reaction to Margot at the Wedding and Greenberg -- Baumbach's minimalist, self-deprecating style has been emulated by many in the years that have followed. His latest, Frances Ha, is every bit as Baumbachian as his previous work, yet feels somehow more accessible as well, aside, perhaps, from the black-and-white photography, which, at times, evokes early Woody Allen or the French New Wave. It is up for debate whether this is because of...
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