Greta Gerwig’s collaborations with Noah Baumbach include Mistress America and Frances Ha; returning to these films after her Oscar-nominated turn in Lady Bird, it’s obvious that Gerwig brought as much, if not more, to the table as her writing partner. Frances Ha is a slight but satisfying character study of a talented young woman struggling to make her way in NYC, lovingly caught in black and white. She’s not quite a dancer, not quite a friend, and not quite sure of where she’s going; Baumbach’s film is set just at the moment when harsh realities begin to bite on youthful aspirations. There’s some amusing diversions, including a trip to Paris where jet lag scuppers Frances’s aspirations to see the city. The title is explained in a throw-away final scene where Frances attempts to force a slip of paper bearing her name onto her mailbox, obscuring most of it; Frances Ha is a film about fitting into society, and as Gerwig dances down the street to propulsive beat of David Bowie’s Modern Love, resourcefully captures the tremulous feelings of youth.