This is really a delightful movie. A beautiful and dramatic story . A touching tale of suffering , friendship , salvation and redemption in a time of barbaric psychiatry methods .
24 Reviews
Delightful Movie
portal179018 September 2021
Great work from Laurent
Movi3DO21 September 2021
My dear Geneviève, we are free...
After Oxygen, Mélanie Laurent returns directing and starring in an Amazon original.
As a director, Laurent did a great job showing the cruelty in the treatment of women in asylum back in the days. The "therapies" were nothing different from tortures. However, within the cruelty was the premise that added heart to the characters. I liked that the movie didn't scream feminism, but let the scenes play out so audiences could root for the women characters.
Probably my only problem was the movie became pretty predictable near the end. I liked how the two main characters were tied to each other, but what became of it was quite clear and not surprising.
Overall, a solid and well done movie. 7.5/10.
After Oxygen, Mélanie Laurent returns directing and starring in an Amazon original.
As a director, Laurent did a great job showing the cruelty in the treatment of women in asylum back in the days. The "therapies" were nothing different from tortures. However, within the cruelty was the premise that added heart to the characters. I liked that the movie didn't scream feminism, but let the scenes play out so audiences could root for the women characters.
Probably my only problem was the movie became pretty predictable near the end. I liked how the two main characters were tied to each other, but what became of it was quite clear and not surprising.
Overall, a solid and well done movie. 7.5/10.
safety pin! what a good story it will surprise you
maykermedina22 September 2021
I was totally unaware of this film because I did not see any publicity but I was encouraged to see it without even knowing what it was about. What can I tell you, this movie was awesome from start to finish. The story is brilliant, costumes and performances impeccable, the music is beautiful and I am fascinated. I Love French cinema! In fact it is the first French film produced by Amazon.
Women's History Reimagined
Blue-Grotto30 September 2021
Ice water soakings, solitary confinement in dark cells, tranquilizers, and random body cavity inspections are just a sampling of the standard psychiatry treatments inflicted upon captive female patients in France 130 years ago. Free spirited Eugenie suffers debilitating visions that she cannot control or understand. She is only in need of some gentle guidance, understanding, and self-confidence. Instead, Eugenie is tricked by her parents and committed against her will to a cruel and misogynistic psychiatric ward. Abandoned by her relatives, Eugenie finds a different family among her unlucky ward sisters.
Women's history is reimagined in a scorching yet sensitive way by Melanie Laurent who directs and stars in the film. Thankfully the film is made in France, and therefore uncensored and blunt. While the film lacks cohesion and a little spark, it is enlightening and energizing to witness multidimensional, realistic, and complicated female characters, and women behind as well as on the screen who are defined not by men but by themselves.
World premiere seen at the Toronto international film festival.
Women's history is reimagined in a scorching yet sensitive way by Melanie Laurent who directs and stars in the film. Thankfully the film is made in France, and therefore uncensored and blunt. While the film lacks cohesion and a little spark, it is enlightening and energizing to witness multidimensional, realistic, and complicated female characters, and women behind as well as on the screen who are defined not by men but by themselves.
World premiere seen at the Toronto international film festival.
Who's mad indeed?
ks-605008 October 2021
men were over 75% of people confined and experimented on in Victorian era lunatic asylums
random-7077814 January 2022
While this is certainly no worse than average psychodrama on women in Belle époque/Fin d'cicle France confined in mental institutions, I am concerned that many of the reviewers are under the impression this was some kind of gender based abuse. The data and peer reviewed work clearly show that in this period France, Great Britain and the US, between two to four times as many men were confined in asylums and subject to horrendous and barbaric treatments.
I would agree with many of the critics that the acting was well above average, but the writing and directing problematic in pacing, overheavy melodrama. There are also problems with the storylines of the characters which seem to meander.
5/10.
I would agree with many of the critics that the acting was well above average, but the writing and directing problematic in pacing, overheavy melodrama. There are also problems with the storylines of the characters which seem to meander.
5/10.
Logros parciales en una combinación de elementos que no alcanza unaPartial achievements in a combination of elements that does not reach a good synthesis
danybur28 September 2021
Summary
Mélanie Laurent's film addresses several issues, such as the disciplinary and patriarchal psychiatry of the time and its methods, a supposedly fantastic subplot and the tribulations of its proto-feminist protagonist, with uneven fortune in his development, in the combination of them and in the resulting message. Despite its great staging and its very good performances, it leaves the viewer with a sadness resulting from having witnessed a harsh story about helpless and violated women but that could have been better told, a sadness mix of empathy with them and frustration.
Review:
Eugénie (Lou de Laâge) is a curious young woman with intellectual concerns (a fan of Victor Hugo), with a wealthy and conservative family that takes care to suppress these concerns and prevent her from channeling them. When the father learns that the girl refers to "speaking with spirits", he decides to commit her to the famous Hôpital de la Salpêtrière, a psychiatric institution run by neurologist Jean-Martin Charcot, where he forges a bond with Geneviève, the head of nurses (Mélanie Laurent ).
Mélanie Laurent's film tackles several issues, with uneven success in its development, in their combination, and in the resulting message. In the first place, it illustrates the cruel "therapeutic" methods of psychiatry at the time, in an institution where in those years (the 80s of the 19th century) Freud himself practiced. It is clear in the film the role of the psychiatric institution and its methods as a device for patriarchal disciplining of "wayward" women (also reduced to the role of guinea pigs), standing as a successor to the witch hunt, now become "hysterical ", According to their definitions. A change from a religious paradigm to a strictly positivist one, both equally totalizing.
Secondly, there is the question of Eugénie's connection with the spirits of the dead, does it constitute a delusion of the protagonist or does she indeed possess that gift of hers? This aspect makes some noise and partially weakens the message of the film since at some point it "contaminates" and "justifies" for the gaze of the time the reasons why the protagonist is hospitalized. At the same time, however, the film makes some interesting notes on the relation of rationalistic positivism to the supernatural and religious and on the arrogance of positivism itself in general.
Third, the dramatic lift, where the film describes how the protagonist goes from her affluent but unsatisfied family life to the tribulations of mental hospitalization and the ways in which she relates to her companions and her medical staff. She. It is here where Laurent tries to balance rawness with restraint, objectivity with emotion, but the result works by half, since she also fails to provide a too original look. It is in this scenario that the agreements between the patient and the nurse will be woven, where not only the nurse is the one who seeks her salvation. This is where the proto-feminist and sisterhood elements of the story also appear.
The Mad´s Women (the viewer will already see the reason for the title) is a dark and melancholic film, with a great staging where the reconstruction of the period stands out and that has very good performances, but that leaves the viewer with a sadness Resulting from witnessing a harsh story about neglected and abused women that could have been better told, a sadness mixed with empathy with them and frustration.
Mélanie Laurent's film addresses several issues, such as the disciplinary and patriarchal psychiatry of the time and its methods, a supposedly fantastic subplot and the tribulations of its proto-feminist protagonist, with uneven fortune in his development, in the combination of them and in the resulting message. Despite its great staging and its very good performances, it leaves the viewer with a sadness resulting from having witnessed a harsh story about helpless and violated women but that could have been better told, a sadness mix of empathy with them and frustration.
Review:
Eugénie (Lou de Laâge) is a curious young woman with intellectual concerns (a fan of Victor Hugo), with a wealthy and conservative family that takes care to suppress these concerns and prevent her from channeling them. When the father learns that the girl refers to "speaking with spirits", he decides to commit her to the famous Hôpital de la Salpêtrière, a psychiatric institution run by neurologist Jean-Martin Charcot, where he forges a bond with Geneviève, the head of nurses (Mélanie Laurent ).
Mélanie Laurent's film tackles several issues, with uneven success in its development, in their combination, and in the resulting message. In the first place, it illustrates the cruel "therapeutic" methods of psychiatry at the time, in an institution where in those years (the 80s of the 19th century) Freud himself practiced. It is clear in the film the role of the psychiatric institution and its methods as a device for patriarchal disciplining of "wayward" women (also reduced to the role of guinea pigs), standing as a successor to the witch hunt, now become "hysterical ", According to their definitions. A change from a religious paradigm to a strictly positivist one, both equally totalizing.
Secondly, there is the question of Eugénie's connection with the spirits of the dead, does it constitute a delusion of the protagonist or does she indeed possess that gift of hers? This aspect makes some noise and partially weakens the message of the film since at some point it "contaminates" and "justifies" for the gaze of the time the reasons why the protagonist is hospitalized. At the same time, however, the film makes some interesting notes on the relation of rationalistic positivism to the supernatural and religious and on the arrogance of positivism itself in general.
Third, the dramatic lift, where the film describes how the protagonist goes from her affluent but unsatisfied family life to the tribulations of mental hospitalization and the ways in which she relates to her companions and her medical staff. She. It is here where Laurent tries to balance rawness with restraint, objectivity with emotion, but the result works by half, since she also fails to provide a too original look. It is in this scenario that the agreements between the patient and the nurse will be woven, where not only the nurse is the one who seeks her salvation. This is where the proto-feminist and sisterhood elements of the story also appear.
The Mad´s Women (the viewer will already see the reason for the title) is a dark and melancholic film, with a great staging where the reconstruction of the period stands out and that has very good performances, but that leaves the viewer with a sadness Resulting from witnessing a harsh story about neglected and abused women that could have been better told, a sadness mixed with empathy with them and frustration.
Beautiful story told in a beautiful way
Deuz823 September 2021
So I watched a French movie (with French audio and English subs to try and keep it authentic as much as possible since I do not speak the language) for the first time, ever. And I am left stunned by it. The acting is top-notch and on point always. Since I have gotten to experience kinda similar treatment in hospitals (MS patient living in a "third world" country) the emotions were relayed rather easily. I also really liked the underlying karma story at the end. All in all, a roller coaster of emotions and I do hope souls that have passed on are indeed watching over us (got a few myself). A must watch in my book and I thank the CNN article that I glanced over this morning mentioning it. Totally worth the time spent watching it. One of those unexpected and hard to find rare gems.
well made , but...
bubu84 October 2021
Could have been better.
The production, set ,acting are all first class.
I was hoping for something special to happen.
Maybe Allan Kardec to show up (The spirits Book author) , or the fathers concerned to come to the rescue.
To much left unresolved , as others have said.
The production, set ,acting are all first class.
I was hoping for something special to happen.
Maybe Allan Kardec to show up (The spirits Book author) , or the fathers concerned to come to the rescue.
To much left unresolved , as others have said.
Interesting, but not really accurate
snootsncoots21 October 2021
Were people treated terribly in asylums? Yes indeed. Were women, who did not have the same rights as today, the frequent victims? Yep. However....
This takes place in 1885, just after Victor Hugos death. At that time, spiritualism was all the rage in England. I guess you have to forget about that.
This takes place in 1885, just after Victor Hugos death. At that time, spiritualism was all the rage in England. I guess you have to forget about that.
Breathtaking
austengaskell20 September 2021
No one ever said the 6 sense requires smarts or cunning. But not to survive?
codeofhonor-6515712 November 2021
Even with the beloved brother... She doesn't adapt, and insure her freedoms. So many of my gender placed the proper games but understood I was up them (rightly so) to find the safe path to be themselves...
She really did fail.
And I have an absolute disbelief..in this story. For even a Brother would have shielded. Even with his own discretions...there was PLENTY of time to coach, alter the obvious path the crackhead father chose.
And I have an absolute disbelief..in this story. For even a Brother would have shielded. Even with his own discretions...there was PLENTY of time to coach, alter the obvious path the crackhead father chose.
Freedom
avindugunasinghe18 June 2022
Every character in Le Bal Des Folles is acted out flawlessly. Every emotion is heartfelt and genuine. Le Bal Des Folles is rich with feminine elegance that it's horrors diminish in the bright light of victorious freedom.
Great Story
martiuew17 October 2021
The film was well directed and acted. You could feel the tension, pain and despair of the women. Sadly a lot of this was probably normal. It is a period piece and I was impressed with the thoroughness of the film. I would have liked to know what happened after to everyone but that is what makes a good story.
Wonderfull
gianmarcoronconi18 July 2023
This is not really a review, it should be taken more as a collection of impressions of the film.
This film begins with a very classic setting and seems to be a very normal film on the supernatural in a past historical era but treated in so many films as to be trivially present and instead the film evolves making the paranormal aspect very marginal and focusing a lot on more on the condition of the psychiatric institutes of the time and in my opinion this is a very good move because the film entertains and impresses and makes the viewer empathize a lot with the patients. So the film is very good and even if the initial part is trivial it is worth enduring it because after a while it becomes very good indeed.
This film begins with a very classic setting and seems to be a very normal film on the supernatural in a past historical era but treated in so many films as to be trivially present and instead the film evolves making the paranormal aspect very marginal and focusing a lot on more on the condition of the psychiatric institutes of the time and in my opinion this is a very good move because the film entertains and impresses and makes the viewer empathize a lot with the patients. So the film is very good and even if the initial part is trivial it is worth enduring it because after a while it becomes very good indeed.
a classic nouvelle...
ops-5253528 September 2021
About the 19th century psychiatry treatment of women in le hospitale salphetriere in paris, france. Its a well made jump back to the past, where womens destiny where the mens decision, a fathers decision, a brothers decision or a husbands decision, if you were apart from the common term of normality, they could put you in a house for madwomen with a blink of an eye.
Acting is superb, though the story might feel a bit shallow and it-ified, where the caracter build is purely towards the main caracter, i feel far more shouldve been spent on the copatients and doctors, who many of them where real life caracters..
staging of the sets are impecable, youe drawn into a miljoe of darkness and madness, the musical score that contains lots of deep cello tones do enhance the tragedy of them lost soles in the socalled human care business, thank god things have cchanged to the better, but still humanity has a giant leap to take to make psychiatric care and medicine perfect.
Its a french edition of the typical dickensian british take on the mental ill a good take thinks the grumpy old man, but not perfect.
Acting is superb, though the story might feel a bit shallow and it-ified, where the caracter build is purely towards the main caracter, i feel far more shouldve been spent on the copatients and doctors, who many of them where real life caracters..
staging of the sets are impecable, youe drawn into a miljoe of darkness and madness, the musical score that contains lots of deep cello tones do enhance the tragedy of them lost soles in the socalled human care business, thank god things have cchanged to the better, but still humanity has a giant leap to take to make psychiatric care and medicine perfect.
Its a french edition of the typical dickensian british take on the mental ill a good take thinks the grumpy old man, but not perfect.
French Snake Pit
billcr1218 July 2023
Lou de Laage is Eugenie, a headstrong woman who is committed to an insane asylum in 1885 France by her wealthy and domineering father. Victor Hugo's funeral opens the film and Eugenie was amongst the large crowd.
The young woman goes into fits and claims to communicate with the spirits of the dead. She finds a long lost necklace of her grandmother's while in such a state. Somehow, this event does not convince the rest of her family of her ESP like abilities.
At the asylum, Eugenie is subject to all kinds of atrocious "therapies," including ice baths and a month long stay in a what looks like a dungeon.
De Laage is magnificent in the lead and she can be seen as a doctor in postwar Germany in The Innocents. The actress deserves more widespread recognition.
The Mad Women's Ball is difficult to watch but a very good movie.
The young woman goes into fits and claims to communicate with the spirits of the dead. She finds a long lost necklace of her grandmother's while in such a state. Somehow, this event does not convince the rest of her family of her ESP like abilities.
At the asylum, Eugenie is subject to all kinds of atrocious "therapies," including ice baths and a month long stay in a what looks like a dungeon.
De Laage is magnificent in the lead and she can be seen as a doctor in postwar Germany in The Innocents. The actress deserves more widespread recognition.
The Mad Women's Ball is difficult to watch but a very good movie.
Full, rich, deeply absorbing; smart, heartfelt, and wonderfully well made
I_Ailurophile4 March 2023
Time and again throughout her career Mélanie Laurent has illustrated superb skills as an actor, with precisely controlled poise and nuance that makes her a terrific fit for any role. As she has moved behind the camera to explore her capabilities as a director, she has routinely shown them to be characterized by equal mindfulness and finesse, orchestrating shots and scenes with keen intelligence demonstrative of all she has learned in her time in the industry. It shouldn't truly come as a surprise that her sixth effort as a filmmaker may be her sharpest yet - maintaining a pointedly subdued tone in most every regard, yet allowing undercurrents of charged emotion shine through while shrewdly conveying a wealth of ideas and information. It's a difficult balance to achieve for any filmmaker, and more experienced hands have had troubles, but I believe Laurent navigates the spaces most deftly. 'Le bal des folles' is a difficult watch in some regards, but fantastically well made, and a fine credit to all involved.
The picture weaves together a panoply of notions that are all a lot to swallow in and of themselves. We're treated to conceptions of medicine and mental health that are appallingly primitive (and sadly period appropriate), to say nothing of reflection of the abhorrent, cruel ways in which institutions have historically been - and even today continue to be - weaponized against anyone who stepped even slightly outside the strict, arbitrary bounds of normalcy as society determines. This was (...is) especially true for women, ever unreasonably at the mercy of men, let alone those of marginalized groups who in any way challenge authority, or specific precepts of convention. To this add the grave hypocrisies of culture in terms of judging what is or is not acceptable, broad antiquated values, abuse of power, experimentation, and more. And still, for everything that's thrown at us, it speaks so very well to Laurent as a screenwriter, working alongside Christophe Deslandes, that the screenplay never loses sight of the discrete narrative: the trials of Eugénie, and the concurrent awakening of Geneviève. The characters are rife with subtle complexities buzzing between all those larger ideas, as is the piercing dialogue. Though maintaining a restrained tenor, the scene writing resonates with vibrant life in the best and worst of ways, carefully constructing the stark, captivating narrative bit by bit. And still Laurent and Deslandes leave plentiful room for director and cast to together explore each scene, and find the exact right feeling and array of emotions to capture and convey.
That cast is utterly exceptional. Laurent is uniformly reliable, and shows why she is and should be so beloved and in demand - but it's noteworthy that even as she comes to have just about as many scenes as the star, she takes a backseat in 'Le bal des folles' and allows her costars the opportunity to shine. Even those in smaller supporting parts makes the most of their time on-screen, doing so very much to enrich the proceedings and instill a sense that any of them could just as handily take on a lead role. As a prime example, Emmanuelle Bercot doesn't figure into the plot until the latter half of the runtime, yet she makes such a huge, terrible impression as Jeanne that this film wouldn't possibly be the same without her. Lomane de Dietrich, though a consistent presence as Louise and integral to some of the notions ongoing in the background, is all the same distinctly second fiddle - and nevertheless stands at least as tall as those with higher billing. And all this is to say nothing of Lou de Laâge, soaring so loftily as Eugénie, and inhabiting the role so deeply with such outstanding range and physicality, that it's easy to forget she's not simply playing a role. At the same time, in much the same way as the actors fill our vision with such unyielding, arresting personality and excellence, this seems a fitting place to mention the score of composer Asaf Avidan. Though by all means kept to the background, Avidan's themes lend enormous power to every scene, supplementing and amplifying every emotion there is to be felt. Somehow the music feels as much a character and an actor as those in front of the camera, and if that doesn't speak to the esoteric magnificence of what chords and notes can do, then I don't know what does.
Those working behind the scenes turned in work of no lesser quality. Lighting, cinematography, production design, art direction, the period costume design, hair and makeup, sound design, exquisite filming locations - in every way that it could be the feature is extraordinarily well made, meeting the highest standards one could anticipate of modern cinema. The end result of all this is a title that runs the gamut from bleak, depressing, and heartbreaking, to warm, inspiring, and hopeful. It raises tension and suspense as easily as it elicits tears of both joy and sadness, and sparks feelings of anger, despair, and love. As co-star, co-writer, and director Laurent shows that she is not merely dabbling in the art form but is wholly committed and fully capable in every manner, and with co-writer Deslandes, her cast, and her crew has assembled a picture that's raptly engrossing and completely rewarding. I quite assumed from Laurent's involvement alone that this would be a quality film and well worth my time, but still I'm struck by just how splendidly fulfilling a viewing experience it is. In no few ways this is trying, and content warnings are necessary for nudity, sexual violence, and trauma in addition to overarching themes of misogyny and oppression. There's a lot going on here, but with the gratifying dexterity of all participating, there's no question in my mind that it never drops even one of the many elements it's constantly juggling. I'm so, so pleased with how good 'Le bal des folles' is, and as far as I'm concerned it earns my highest, heartiest recommendation. Bravo!
The picture weaves together a panoply of notions that are all a lot to swallow in and of themselves. We're treated to conceptions of medicine and mental health that are appallingly primitive (and sadly period appropriate), to say nothing of reflection of the abhorrent, cruel ways in which institutions have historically been - and even today continue to be - weaponized against anyone who stepped even slightly outside the strict, arbitrary bounds of normalcy as society determines. This was (...is) especially true for women, ever unreasonably at the mercy of men, let alone those of marginalized groups who in any way challenge authority, or specific precepts of convention. To this add the grave hypocrisies of culture in terms of judging what is or is not acceptable, broad antiquated values, abuse of power, experimentation, and more. And still, for everything that's thrown at us, it speaks so very well to Laurent as a screenwriter, working alongside Christophe Deslandes, that the screenplay never loses sight of the discrete narrative: the trials of Eugénie, and the concurrent awakening of Geneviève. The characters are rife with subtle complexities buzzing between all those larger ideas, as is the piercing dialogue. Though maintaining a restrained tenor, the scene writing resonates with vibrant life in the best and worst of ways, carefully constructing the stark, captivating narrative bit by bit. And still Laurent and Deslandes leave plentiful room for director and cast to together explore each scene, and find the exact right feeling and array of emotions to capture and convey.
That cast is utterly exceptional. Laurent is uniformly reliable, and shows why she is and should be so beloved and in demand - but it's noteworthy that even as she comes to have just about as many scenes as the star, she takes a backseat in 'Le bal des folles' and allows her costars the opportunity to shine. Even those in smaller supporting parts makes the most of their time on-screen, doing so very much to enrich the proceedings and instill a sense that any of them could just as handily take on a lead role. As a prime example, Emmanuelle Bercot doesn't figure into the plot until the latter half of the runtime, yet she makes such a huge, terrible impression as Jeanne that this film wouldn't possibly be the same without her. Lomane de Dietrich, though a consistent presence as Louise and integral to some of the notions ongoing in the background, is all the same distinctly second fiddle - and nevertheless stands at least as tall as those with higher billing. And all this is to say nothing of Lou de Laâge, soaring so loftily as Eugénie, and inhabiting the role so deeply with such outstanding range and physicality, that it's easy to forget she's not simply playing a role. At the same time, in much the same way as the actors fill our vision with such unyielding, arresting personality and excellence, this seems a fitting place to mention the score of composer Asaf Avidan. Though by all means kept to the background, Avidan's themes lend enormous power to every scene, supplementing and amplifying every emotion there is to be felt. Somehow the music feels as much a character and an actor as those in front of the camera, and if that doesn't speak to the esoteric magnificence of what chords and notes can do, then I don't know what does.
Those working behind the scenes turned in work of no lesser quality. Lighting, cinematography, production design, art direction, the period costume design, hair and makeup, sound design, exquisite filming locations - in every way that it could be the feature is extraordinarily well made, meeting the highest standards one could anticipate of modern cinema. The end result of all this is a title that runs the gamut from bleak, depressing, and heartbreaking, to warm, inspiring, and hopeful. It raises tension and suspense as easily as it elicits tears of both joy and sadness, and sparks feelings of anger, despair, and love. As co-star, co-writer, and director Laurent shows that she is not merely dabbling in the art form but is wholly committed and fully capable in every manner, and with co-writer Deslandes, her cast, and her crew has assembled a picture that's raptly engrossing and completely rewarding. I quite assumed from Laurent's involvement alone that this would be a quality film and well worth my time, but still I'm struck by just how splendidly fulfilling a viewing experience it is. In no few ways this is trying, and content warnings are necessary for nudity, sexual violence, and trauma in addition to overarching themes of misogyny and oppression. There's a lot going on here, but with the gratifying dexterity of all participating, there's no question in my mind that it never drops even one of the many elements it's constantly juggling. I'm so, so pleased with how good 'Le bal des folles' is, and as far as I'm concerned it earns my highest, heartiest recommendation. Bravo!
Beautiful movie
clifton50627 October 2021
Don't look for so many answers, just enjoy the friendship
robinparker31130 December 2021
In reading some of the other reviews, I see people looking for answers to parts of the story that are really 'subplots' of the main story. This is a story of female bonds & friendships - particularly an understanding & friendship between two women who, due to opposing 'sides' in the foundation of the plot (I won't specify, as it would contain spoilers), would not be friends had it not been for a mutual understanding & an open-mindedness of a caring person working in a facility filled w very few individuals of that nature.
It is also a story of friendship among women who were suffering the victimization of the times & the misunderstanding of what it meant to be so easily mislabeled as mentally ill.
It's a beautiful story & I don't know if reviewers who are looking for solid 'answers' are used to American cinema & don't respect or understand what MAY just be cultural film differences; or it may just be the idea that the story is really just about friendships, sacrifice & freedom, not a story ending in a nice, satisfying fashion - folding up neatly in the end simply for viewer satisfaction.
There are subplots in the movie that will be left unanswered & while that might be frustrating to some, they ARE simply subplots that leave the viewer in a position to decide for oneself what may or may not have followed in the storyline.
I highly recommend this, although it's not action packed along the way there is something very beautiful about the entire story.
It is also a story of friendship among women who were suffering the victimization of the times & the misunderstanding of what it meant to be so easily mislabeled as mentally ill.
It's a beautiful story & I don't know if reviewers who are looking for solid 'answers' are used to American cinema & don't respect or understand what MAY just be cultural film differences; or it may just be the idea that the story is really just about friendships, sacrifice & freedom, not a story ending in a nice, satisfying fashion - folding up neatly in the end simply for viewer satisfaction.
There are subplots in the movie that will be left unanswered & while that might be frustrating to some, they ARE simply subplots that leave the viewer in a position to decide for oneself what may or may not have followed in the storyline.
I highly recommend this, although it's not action packed along the way there is something very beautiful about the entire story.
It is a very good and beautiful movie
luisc_alonso29 September 2021
It has all ingredients to be a great film. Superb acting, good script, amazing cinematography, music and art direction and a great job from Melanie in the directing. A nice and touching story very well made and told that makes you feel a variety of feelings. It is a jewel that you must watch.
art e belle
constantin-andronic-270-6220191 October 2021
Who's mad/bad?
kosmasp21 July 2022
No pun intended - and no connection to the Michael Jackson song you may have made (though I reckon I kind of made that on purpose). That aside, the movie is about mental illness - or rather what some perceive as such. We have gone from Witch trials to declaring women who are different insane. When I say we, I mean the folks in the movie right here.
Dancers - not just in your dreams. And maybe not really giving you much of a notion what the movie is about. Which I reckon is a good thing for a title. At least in my book (no pun intended). The performances are quite something to behold. And the story is far out - almost literally, even if in close(d) space(s). Again with the puns I know.
Whatever your believes are and whatever you may think of the main character ... it is tough to go on the journey with her. And how do people react when they are proven wrong? We get both sides of that here too ... which side will win in the end? Or rather can it be called a real winner after all, whoever it is? That's for you to decide ... this is not Shutter Island and probably should not really be compared with that. It is a movie in its own right and does a really good job too.
Dancers - not just in your dreams. And maybe not really giving you much of a notion what the movie is about. Which I reckon is a good thing for a title. At least in my book (no pun intended). The performances are quite something to behold. And the story is far out - almost literally, even if in close(d) space(s). Again with the puns I know.
Whatever your believes are and whatever you may think of the main character ... it is tough to go on the journey with her. And how do people react when they are proven wrong? We get both sides of that here too ... which side will win in the end? Or rather can it be called a real winner after all, whoever it is? That's for you to decide ... this is not Shutter Island and probably should not really be compared with that. It is a movie in its own right and does a really good job too.
See also
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