前大半部分不同个体展现酷儿群体的风貌借托变装舞会voguing和synth-pop七八十年代的复古奇观元素HIV盛行下的恐慌环境(温柔说着自己的梦想的萨丽在后一镜迎来了在旅馆床底的死亡)ballroom和地下文化是社群对主流的反噬基督教有福音堂落瘾者有互助会LGBTQ同样作为一个社群需要互相”read””shade”的空间最后字幕和群像话语的交替配着一首got to be real借用里边drag queen一句话:我不会选择变性因为变成女人面临的处境甚至更糟
Weill portrays a single, green girl's helpless loneliness in a big city (it's always NYC) with such authenticity and delicacy; Susan's not selfish but only scared, of being WITH someone and making up her own calls. And that's not only the struggle of being single but also being a single woman during the 1970s after the 2nd-wave feminism movement. Yet it remains pertinent now more than ever: How hard is it to be in the counterculture when mainstream prevails? How would marriage do to friendships? What's it like to maintain the female perspective? Frances Ha's answer pales like a superficial YA novel in front of this one.