Humanity has yet to develop a punishment method that upholds human dignity. Then again, we must not overlook the complex debates surrounding what constitutes a crime, how it emerges, how criminals should be punished or rehabilitated, and the roles individuals, society, and the system play in criminal behavior.
Since the first Joker film delivered a powerful critique of the system, I approached the sequel with similar expectations. The most unsettling aspect of Joker: Folie à Deux for me was its stark portrayal of prisons as dehumanizing spaces that fail at rehabilitating offenders.
Beyond that, I was disappointed by the sequel’s failure to reinforce the critical message established by the first film.
In Joker, Arthur Fleck was portrayed as a marginalized individual, oppressed and pushed toward violence by a system that ignored his mental health struggles. Denied love and compassion both individually and socially, he became a criminal.
Even though I wasn’t entirely captivated by the first film, I admired its stance, as did many others. Unfortunately, the sequel doesn’t manage to uphold that perspective as strongly.
This time, we witness Arthur’s romantic entanglement with Lee Quinzel (Lady Gaga), portrayed once again with breathtaking intensity by Joaquin Phoenix. Their journey unfolds through dream-like musical sequences featuring songs about enduring hardship together.
I’m not opposed to the film being a musical, but the musical scenes feel like disjointed music videos inserted into an otherwise serious narrative.
Perhaps this was meant to reflect Arthur Fleck’s obsession with entertainment and TV shows. However, presented this way, the scenes disrupt the story’s flow and weaken the film’s pace.
It feels like a missed opportunity, as if the film itself were singing, “I think it’s time for you to go, this madness between us has to end.” In the process, important critiques about the prison environment and the justice system get lost in the noise.