For the longest time, hysteria as a medical condition was particularly attributed to women. The umbrella term was mostly used for any incomprehensible condition or symptom related to the female anatomy. Later on, the term was used to describe women who showed ‘excessive emotions’ or dared not to adhere to societal expectations. Bottom line, women who tried to exercise their agency were considered ‘hysterical.’ In Rodrigo Garcia’s Mexican anthology film, The Follies, the subjects are what society would best describe as ‘hysterical women.’ Every individual in the film is stuck in a world that fails to understand them, their loved ones try to confine them, and they’re repeatedly told that their reactions are ‘too intense.’
The title can be interpreted as the collective ‘foolishness’ that the characters indulge in. What is considered unnecessary, extreme, or a lack of foresight when it comes to women is usually something that is not approved by society, and therefore women are discouraged from making these ‘silly’ choices. At the center of The Follies is Renata—she was under house arrest for a crime that is revealed at the very end of the film. A psychiatrist, Irlanda, was appointed by the court to determine if Renata was fit for a trial, although Renata considered her outburst an episode and not a condition that needed to be treated. The short stories that gradually unfold revolve around characters who are in some way connected to Renata. From the passerby Renata borrows phone from,Penelope, who struggles to grapple with the idea of death; to her psychiatrist, Irlanda, who is caught between self-preservation and family expectations; her lover, Miranda, who resorts to self-imposed censorship to repress her sexual identity; her sister, Solodad, who found it challenging to navigate her emotions; and of course Renata herself. All the characters are fighting their own battles, as insignificant as they might seem to those watching them from a distance.
The Follies poses a few disturbing yet pertinent questions related to boundaries, consent, and self-censorship. The family of an individual chose not to discuss the extent of violence she was subjected to because it was discomforting, yet they had the audacity to ask her to look past the assault and forgive her husband, the perpetrator. The film addresses how a patriarchal mindset is so deeply ingrained that one fails to see injustice; rather, they prefer to focus on keeping the family unit intact for the sake of serving the patriarchal machinery. Even liberal spaces where one expects their boundaries to be respected can turn into a suffocating confinement. It also goes on to emphasize how external factors contribute to the normalization of sexual violence. One might end up feeling alienated in an institution if they dare to address sexual assault and how the constant ‘maybe it wasn’t intentional’ can make a survivor feel invisible.
The narrative structure will keep you hooked to the screen until the very end. The interconnected storytelling is smooth and thoroughly engaging. Every character was considered ‘too much to handle’ by their loved ones, and they were all dealing with these ‘excessive emotions’ that are either rooted in their personal fear, trauma, or are a result of societal injustice. The way the story unfolds feels a little too convenient, but then again, it’s not glaring enough to hinder your watching experience. The film is character-driven, and each character is extremely intriguing and layered. The central figure, Renata, refuses to be just another woman with a sad story. Yes, she is under house arrest, but that doesn’t mean that she cannot amuse herself by freaking out those passing by her house. She stood by the window and made sure that she had everyone’s attention, in both good and bad ways. From the very beginning of the film, it’s established that she must not be ignored. She was always bursting with ideas and thoughts that she struggled to contain within herself. She was full of life, had strong opinions and emotions, and enjoyed watching the discomfort on people’s faces when she spoke from her heart. Her psychiatrist, Irlanda, is another courageous woman, whose calm composure didn’t reveal at first the storm that she had endured. She was bold and resilient, and she never minced her words. The Follies underlines how none of the decisions the characters were forced to take were easy; they mostly came at an extreme cost, but at the end of the day, their decisions were rooted in self-preservation. Renata’s sister, Soledad, too, is a complex individual navigating a challenging phase in her life. As an actor, she discovered certain truths about herself that made her feel uncomfortable, and at the same time, she struggled to understand the definition of ‘appropriate behavior’ in a creative space.
Every story urges the audience to reflect and analyze the situation and the reactions of the individuals. The film chooses not to simplify and explain the inner conflicts in detail, and there are a few fantastical elements as well. But the stories aren’t too convoluted to make it impossible to comprehend. There is a certain balance in the information that is shared with the audience and that the filmmaker expects the audience to figure out. The ambiguous ending in most of the stories will keep you guessing, and it helps build intrigue. Although there was one particular story (the Soledad one) where I wished there was a bit more clarity to the idea that the film strived to arrive at, considering the film deals with extremely sensitive subjects with triggering visuals.
What we observe is merely a single day in the lives of these individuals, which makes the storytelling even more intense. You don’t get to stay and linger with the characters; instead, you’re introduced to possibly the most terrifying moments in their lives, and you’re immediately drawn into their stories. The film deals with mental health and emphasizes the importance of understanding the trigger instead of just focusing on the symptoms.
A character-driven film requires strong performances, and the cast doesn’t disappoint. Cassandra Ciangherotti captures the chaos that is Renata. The jitters, the fleeting, often overlapping thoughts, the weight of worldly injustice, and the disappointment in the system make Ciangherotti’s Renata a believable and, to an extent, relatable character. Rodrigo Garcia carefully ensures that the individuals experiencing mental breakdowns are not seen as specimens who need to be studied closely; rather, he makes it a point to showcase how everyday conversation and interaction can trigger individuals and push them to the edge. The Follies is an intense drama film that requires your undivided attention. It is meant to compel you to arrive at your own conclusions, and if that is not something you’re ready to sign up for, then this one is not for you.
