Reflecting what you don’t want to see.
GIRLS WILL BE GIRLS (2024) depicts the complex relationship between mothers and daughters as a power struggle. Directed by Shuchi Talati, this coming of age piece centers around the exploration of self and awareness for others.
Mira (Preeti Panigrahi) feels trapped under the stifling, attentive watch of her mother, Anila (Kani Kusruti). She takes care to be the perfect student and hold the trust of her teachers, but doesn’t manage to gain the respect of all her peers. As the school’s first female head prefect, Mira is constantly reminded of the responsibility she holds and her privilege to be appointed as a girl.
Preferring her father’s traits over her mother’s, Mira rejects Anila’s attention. She wants to distance herself, but her mother won’t allow that to happen. For better or worse, Mira and Anila act as reflections of each other. Symbolically, the theme is demonstrated through the mirrors used to shoot reflections and intimate framing within the film.
The 4:3 aspect ratio makes the close-ups feel even tighter, but allows full screen room for shots that can show detail inside the house. Purposeful staging causes the eye to track the actor’s movement during long takes. Emphasis is put on the hands and their placement. The film portrays intimacy with physicality. All style choices emphasize closeness: the actors are physically near, the shot is framed in, noise is heightened. We are aware as viewers.
It is unplanned when Mira’s interest in the new student, Sri (Kesav Binoy Kiron), develops. They stargaze and sit together on the roof. Direct, he asks why she stayed back instead of leaving with the others. She tries to lie but honesty derives honesty and they make a promise of “no bullshit.” When exchanging stories, Sri shares about being a mama’s boy and thinking his mother was the best as he followed her around. Having read the film’s synopsis, the story feels telling for the future.
But an eager, soft romance unfolds between Mira and Sri with the tentative uncertainty expected from a coming of age film. There is research and preparation for this subject Mira is inexperienced at. She practices kissing her hand in the shower stall and laughs. The two call at night and study during the day, exploring their relationship in her bedroom and the woods.
When Mira rejects another boy’s confession and then later reports several boys for taking upskirt pictures of female students on the stairs, the undercurrent of bitterness begins to stir. Her teacher recommends ignoring the boys, instead making it a point for the girls to dress appropriately within the dress code and to not interact with the boys.
Outright disrespect and mocking resentment from the male students occurs near the end of the film. Chasing after Mira, the pack of boys follow her to the girl’s dormitory. She remains trapped there, hiding from their harassment, until her mother arrives and takes her home. The boys reveal her romantic involvement with Sri as revenge, expecting her to face discipline for having a relationship, but Anila defends her.
Sri becomes part of the complicated mother-daughter dynamic after meeting Anila when he first visits their home. Mira and Anila seem to compete for his attention as he provides each one with what they want. Mira wants upfront honesty. Anila wants individual attention and appreciation. They both want to be seen and feel wanted, but aren’t receiving that care from each other.
Anila’s unhappiness in her marriage to Mira’s father is a quiet thing. Not quite stated aloud, but seen and felt. Married quickly after school, she is now often alone and unfulfilled. While she is well-liked by the other girls and women, much of Anila is closed off. Mira doesn’t let Anila take care of her, but Sri does. He is able to tease out parts of her that are kept hidden; she laughs with him.
But with Sri involved in the power struggle between Mira and Anila, the relationship is now split three ways. Mira and Anila take turns on the outskirts of the relationship, while the other is left alone to watch. The staging of the film supports this concept that one of them will always be alone. Only at the end of the film do Mira and Anila come together fully and Sri is pushed out of the relationship.
In her time with him, Mira finds an awareness in herself and others as she experiences hurt and heartache. Sri makes a metaphor about keys unlocking people and when asked, shares the keys he used for Mira and Anila. He is good at figuring people out. And when Mira realizes how to take care of Anila, she finally gives affection by tenderly caring for her mother’s hair beneath the sun.
Just as Anila protected her when she needed it, Mira chooses to protect her mother from Sri by letting him go.
Carley Matsumura is a Creative Media student pursuing a BA in Communications and New Media Technologies and a Certificate in Music at the University of Hawaiʻi–West Oʻahu. Her interest in storytelling originates from the community aspect of sharing a connection with others. She enjoys the way themes explored within film can be interpreted through symbolism. Carley looks forward to the possibilities of a career involving storytelling after graduation.
The HIFF ONLINE CREATIVES & CRITICS IMMERSIVE (HOCCI) program supports sustainable film criticism in Hawai’i through mentorship and paid career opportunities for Hawai’i-based AANHPI critics. The mission of HOCCI is to broaden diversity in film criticism across the Pacific and use influencer branding strategies to spark career opportunities. The 2024 HOCCI is supported by Critical Minded, a grant-making and learning initiative that supports cultural critics of color in the United States.
