If there’s one thing cinema has repeatedly shown us, it’s that nothing quite sparks cinematic magic like the complex dynamics of mother-daughter relationships. Enter Girls Will Be Girls (2024), the directorial debut of Shuchi Talati, an Indo-French production that not only dips its toes into this well-trodden narrative path but submerges itself entirely into the turbulent waters of maternal influence and adolescent rebellion. Premiering at the 2024 Sundance Film Festival, where it bagged the World Cinema Dramatic Audience Award, this film is anything but a conventional coming-of-age tale.
Through the lens of Mira (Preeti Panigrahi) and her domineering mother Anila (Kani Kusruti), Talati explores the darker, subtler tensions in the generational divide. In many ways, it’s not just a coming-of-age film, but also a biting commentary on the invisible but suffocating chains of societal expectations that continue to bind women, generation after generation. With a well-crafted mix of satire, humor, and heartache, Girls Will Be Girls showcases the uncomfortable dance between duty and desire, leaving audiences contemplating its themes long after the credits roll.
A Story in the Foothills of Repression
Set against the picturesque backdrop of a prestigious boarding school in the Himalayas, the plot centers around 16-year-old Mira, a driven, overachieving student who becomes the first girl to be appointed head prefect at her school. Mira’s rise to the top is both expected and celebrated, especially by her mother, Anila, who herself once walked the same halls. However, the relationship between mother and daughter is anything but harmonious. Anila, who gave up her own ambitions when she married young, now lives vicariously through Mira, a reflection of the life she wished she could have led.
But things take a steamy, unexpected turn when a new student, Sri (Kesav Binoy Kiron), arrives at the school, igniting the fires of teenage desire in Mira. As she navigates her first romantic experiences, Mira’s budding relationship with Sri is closely (and rather awkwardly) scrutinized by Anila, who inserts herself into their burgeoning romance. This is where the film takes a unique twist: Anila too becomes entangled in the emotional whirlwind of Sri’s presence, creating a bizarre love triangle that pits mother against daughter.
The heart of the film lies in the simmering conflict between Mira and Anila, a tension that is expressed in scenes like a memorable dance sequence where both women, consciously or unconsciously, vie for Sri’s attention. In these moments, Talati masterfully juxtaposes power dynamics and the generational gap, revealing that both women are, in their own ways, struggling for control over their lives.
Performances That Transcend Stereotypes
Preeti Panigrahi, in her breakout role as Mira, offers a portrayal that is both fierce and vulnerable. Her performance is a delicate balancing act of outwardly projecting confidence while internally wrestling with self-doubt and confusion. One of the standout scenes is when Mira, alone in front of a mirror, experiments with her appearance and self-expression, a moment interrupted by Anila, symbolizing the constant surveillance and restriction imposed upon her.
Kani Kusruti as Anila brings an equally complex character to life. On the surface, Anila seems to be the typical overbearing mother, but Kusruti adds layers to this character, portraying a woman who is also grappling with her own unfulfilled desires. Anila’s interactions with Sri—particularly when they teeter on the edge of flirtation—are unsettling but revealing of a woman yearning for validation, after years of marital neglect. Together, Panigrahi and Kusruti elevate the film from a simple coming-of-age story to a searing psychological drama about the roles women are forced into.
Visual Brilliance and Direction
Talati’s direction shines in her use of space and perspective. The suffocating atmosphere of the boarding school mirrors the stifling expectations placed on the girls. Cinematographer Jih-E Peng cleverly employs lingering shots of characters observing one another—a motif that highlights the ever-present societal surveillance women endure. Whether it’s Mira’s teachers, her peers, or her mother, everyone seems to be constantly scrutinizing her actions, ready to pounce at the first sign of rebellion. This voyeuristic quality amplifies the tension and makes the audience complicit in the act of watching and judging, further immersing us into the world of Girls Will Be Girls.
The film’s soundtrack, composed by Sneha Khanwalkar, enhances the emotional undercurrent without overpowering it. A notable scene is the aforementioned dance sequence, where the music ebbs and flows with the emotional tides of the three characters, building suspense and showcasing the internal power struggle between Mira, Anila, and Sri.
Themes of Patriarchy and Rebellion
At its core, Girls Will Be Girls is an exploration of patriarchal structures and how they manifest in the smallest details of women’s lives. Talati doesn’t hammer these ideas home with heavy-handed dialogue but lets them simmer beneath the surface. For instance, Mira’s frustrations aren’t just about her mother’s meddling but are symbolic of her struggle to break free from the societal constraints that have long defined what it means to be a “good girl.”
The film’s exploration of teenage sexuality is equally compelling. Mira’s sexual awakening isn’t sensationalized, but rather treated with nuance and sensitivity. Unlike many coming-of-age films where romance is either romanticized or vilified, Talati presents Mira’s experiences as raw and messy, filled with the awkwardness and vulnerability of real teenage relationships.
The Final Act: A Bittersweet Resolution
Without giving too much away, the film’s conclusion doesn’t offer a neat resolution. While there are moments of tenderness and understanding between Mira and Anila, the scars of their complicated relationship remain. In this way, Talati remains true to the film’s central message: growth and change don’t happen overnight, and the chains of patriarchy won’t be shattered with a single act of rebellion.
The final scenes leave us with a sense of hope, but also a recognition that both Mira and Anila have a long way to go in their respective journeys of self-discovery.
Conclusion: A Quiet, Powerful Triumph
Girls Will Be Girls is a slow-burning, introspective film that takes familiar coming-of-age tropes and flips them on their head. It’s not just about a girl discovering who she is, but about the ongoing battle between generations of women—each trying to navigate their place in a world that’s constantly telling them who they should be.
Shuchi Talati has created a poignant, thought-provoking film that lingers with the viewer long after the final scene. With its strong performances, stunning visuals, and subtle yet impactful storytelling, this film is a must-watch for anyone who appreciates cinema that challenges conventions while offering fresh, feminist perspectives.
