Noah Baumbach’s “Frances Ha” is, like Lena Dunham’s hit HBO series “Girls,” fixated on the insular, entitled world of artsy, twenty-something Manhattanites, where twenty-seven year-old bachelors are still bankrolled, unapologetically, by their parents, and barely employed comedy writers and sculptors refuse to relocate to cheaper, less happening outer-borough apartments. Like Dunham, Baumbach bravely