Joker: folie à deux.

Our review.

Todd Philips, Lady Gaga, Joaquin Phoenix - Credits: Marco Lorè

If you are avid readers of DC Comics and expect this film (like the first one) to faithfully reflect those characters on screen, then avoid watching Joker: Folie à Deux and reading this review.

The director Todd Phillips' intent is to manipulate an iconic image like that of the Joker, transferring the character’s madness into the soul of Arthur Fleck, the protagonist of this heavily criticized film.

What would happen if a personality as insane as the comic book Joker truly existed in everyday life, suddenly emerging in a mentally fragile and completely manipulable person?

The potential consequences were masterfully portrayed in the first film, while in the sequel, we see the repercussions Arthur Fleck faces as a result of his actions.

In a society devoid of ideals, dreams, aspirations, and inspiration, the deeds of this Joker have had an incredible impact, sparking an uncontrollable and radical rebellion.

Now, however, our protagonist must bear the full weight of everything he has created, paying a very steep price.

Yet, there are two elements of hope: love and music.

These two aspects seem to restore a glimmer of hope for Arthur, giving him the belief that he might redeem himself and find, not just a way to escape, but a path toward help.

Joaquin Phoenix - Credits: Marco Lorè

Yes, because in his mind there is a wild desire to find someone or something to help him break free from the destructive shadow of the Joker.

However, his mind is so fragile and confused that he even doubts himself and the feelings he has started to experience.

He doubts his own madness and confusion, unsure of how to deal with the unpleasant consequences of his actions.

At a sudden attempt at redemption, Arthur Fleck is immediately knocked down again, first by himself and his mental condition, and then by society.

It's a reverse journey, in a way, compared to the first film.

Director Todd Phillips indeed aims to separate Arthur’s real-life situation from his dreams and hopes of redemption, choosing music as the tool for rehabilitating his corrupted and damaged mental state.

Music, when tied to love, can prove to be a winning combination. And this is where the very real Harley Quinn, portrayed by Lady Gaga, comes into play.

Lady Gaga - Credits: Marco Lorè

Stylistically speaking, the film is flawless in terms of acting, with Joaquin Phoenix once again delivering an extraordinary performance, and in its cinematography, which remains intense and mirrors that of the first film.

What likely irked the audience, however, is the excessive presence of songs (in our opinion, two or three could have been avoided), despite the fact that the director had announced early on that the second chapter would be a musical.

But it’s not entirely a musical, and if some of the sung scenes had been spoken, we would have undoubtedly witnessed a fuller film, without any gaps, and a sequel more faithful to all the meanings of the first one.

Even Arthur Fleck himself says something similar to Harley Quinn towards the end.

This raises the suspicion that everything was orchestrated from the start—a very deliberate, perhaps experimental, choice the director intended to explore.

It is, nonetheless, a heart-wrenching film because it tells the story of a toxic love: Harley only loves Arthur's dark side—she's in love with the Joker.

In this film, she is the true madwoman, the true anarchist.

She has no use for a weak person, broken by his pseudo dual personality.

Because when a madman regains his clarity, he stops being appealing to other mad people.

It’s a raw film that portrays pain and makes the viewer feel it—something we are no longer accustomed to, as, despite the times we live in, we are distant from it and used to a more sugar-coated existence.