Through the lens of sixteen-year-old Mira Kishore (Preeti Panigrahi in a breakout performance that won her the Special Jury Award for Acting at the Sundance Film Festival earlier this year), this year’s IFFM Closing Night film Girls Will Be Girls explores a young woman’s struggle for autonomy in a culture that persistently attempts to curtail her freedom. This coming-of-age narrative is not just about a teenager finding herself; it’s a subtle yet powerful indictment of how societal norms, under the guise of preserving ‘Indian culture,’ systematically oppress women by limiting their agency.
A through line I’ve observed in films from the subcontinent that have played the Australian film festival circuit this year is that they’re tackling what it means to be a woman in a society that wants to erase their existence. Whether it’s Shuchi Talati’s Girls Will Be Girls (2024), Payal Kapadia’s Cannes award winner All We Imagine as Light (2024), Sandhya Suri’s Santosh (2024) or Iram Parveen Bilal’s Wakhri (2023), all these films contain an undercurrent of anger that their female creators feel every day, particularly relevant in light of recent acts of sexual violence in India and Australia.
Boarding School as a Microcosm of Society
The boarding school, where much of the film takes place, serves as a microcosm of Indian society. Here, rules are strictly enforced, and students are constantly reminded of their place within the social hierarchy. Mira, newly appointed as Head Prefect, initially believes that her badge bestows her with genuine authority. However, it soon becomes clear that the true power lies not with her but with the institution, which, much like the society she inhabits, functions to keep everyone in line.
The school, with its rigid structure and emphasis on conformity, is emblematic of the larger cultural forces at play. The film highlights how this environment stifles individuality, particularly for women. Female students are lectured on the appropriate length of their skirts, a rule that is a vestige of colonial influence but remains strictly enforced. The burden of maintaining decorum falls disproportionately on the girls, reflecting the real-world double standards that exists in Indian society.
The Illusion of Privacy
Talati deftly explores how the lack of privacy at home mirrors the restrictions imposed at school. Mira shares her home with her mother, Anila (played with remarkable depth by Kani Kusruti), and this shared space becomes another arena where control is exerted over Mira’s life. The constant supervision – from questioning why a door is closed to monitoring phone conversations – serves as a reminder that even in the supposed sanctuary of home, Mira’s autonomy is limited.
This pervasive sense of being watched is visually reinforced by the film’s 4:3 aspect ratio, which boxes in the characters, creating a claustrophobic atmosphere. The narrow framing mirrors the limitations placed on Mira’s freedom, both physically and metaphorically. The walls seem to close in on her, emphasising the suffocating nature of the societal expectations she is up against.
A Game of Control
The theme of control extends beyond the school and home, permeating the very dynamics between the characters. The arrival of Srinivas, or Sri (played by the charming Kesav Binoy Kiron), a new student from Hong Kong, serves as the catalyst for Mira’s journey of self-discovery. Sri’s worldliness and perceived experience challenge Mira to measure up, igniting a competitive spirit in her. However, the real tension arises not between Mira and Sri, but between Mira and her mother, who also becomes enamoured with Sri.
Anila’s newfound attention from Sri is both a source of validation and conflict. She is caught between her longing for recognition – something she has been deprived of in her marriage – and her responsibilities as a mother. This delicate balancing act is where Kusruti truly shines, portraying a woman torn between her desires and her duty to her daughter. The tension between Mira and Anila is palpable, simmering just below the surface, and it is this push-and-pull dynamic that drives the film’s emotional core.
Panigrahi effortlessly balances her character’s fiery determination with moments of introspection. Mira’s journey is one of internal conflict, and Panigrahi captures this complexity with a performance that oscillates between outward defiance and inward reflection. Her portrayal of Mira’s growing awareness of the constraints imposed on her is both subtle and powerful.
Kusruti, as Anila, provides the perfect foil to Mira’s youthful rebellion. This truly is Kusruti’s year as an actor – she’s also part of the acting ensemble in Kapadia’s award-winning All We Imagine as Light. The mother-daughter relationship is the heart of the film, and both actresses excel in portraying the intricate dynamics of this bond.
Talati’s direction is assured, allowing the film to unfold organically without resorting to overt didacticism. The film’s quiet, intimate tone is its strength, as it allows the audience to fully absorb how societal norms can oppress women. The cumulative effect of the microaggressions experienced by the characters builds to a powerful conclusion.
Girls Will Be Girls is a film that doesn’t rely on grand gestures or dramatic confrontations to make its point. Instead, it focuses on the everyday realities of living in a world that seeks to control and confine women, often under the guise of protecting cultural values. Talati’s film explores how subtle forms of oppression accumulate over time, shaping the lives of women in ways that leave lasting scars.
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This film is a reminder that sometimes, the most significant rebellions can happen in moments when we least expect them.
Preeti Panigrahi, who plays the film’s protagonist Mira, was at the Closing Night Gala to introduce the film. Actor Vikrant Massey was also in attendance, and was awarded the IFFM Best Actor award for his performance in the film 12th Fail. It was a fitting end to a festival which began with an affirmation of diversity, during a difficult year for women in Australia and India.
Read more: Breaking boundaries: Dominic Sangma’s ‘Rapture’ at IFFM
