Girls Will Be Girls, the only Indian feature film at this year’s Sundance Film Festival, marks a striking debut from director Shuchi Talati. The film, a complex mother-daughter coming-of-age story, premiered in the World Cinema Dramatic Competition and has already garnered attention for its sensitive, thoughtful exploration of teenage sexual awareness and family dynamics.
The Premise
Set in a strict Himalayan boarding school, Girls Will Be Girls introduces sixteen-year-old Mira (Preeti Panigrahi), who has just become the first female head prefect of the institution. Confident and well-composed, Mira excels in her duties, maintaining her prim and proper demeanor while overseeing the other students. However, her world is turned upside down with the arrival of a charming new student, Sri (Kesav Binoy Kiron), whose presence begins to disrupt her carefully constructed social standing.
Mira’s quiet fascination with Sri is complicated by her relationship with her mother, Anila (Kani Kusruti), a former student of the school who lives nearby. Mira’s feelings for Sri are kept secret from Anila, but the older woman, aware of her daughter’s inner world, often finds herself caught in Mira’s emotional orbit. As Anila and Mira subtly compete for Sri’s attention, the film captures their delicate, tense interactions with remarkable depth. Talati’s direction is full of empathy and nuance, building the tension in quiet, powerful moments where glances and body language speak louder than words.
Emotional Shifts and Feminine Struggles
As the narrative unfolds, Mira’s relationship with Anila transforms into an intense, almost adversarial dynamic. A pivotal moment occurs when Anila dances with Sri, breaking through the few private moments Mira has with him. The tension between mother and daughter escalates, each woman vying for Sri’s attention in subtle, yet significant ways. Talati’s approach to this shift is one of understated sensitivity, expertly capturing the unspoken emotional currents between the two.
The film also explores the institutional structures of patriarchy through Mira’s experiences at school. In one particularly telling moment, when Mira complains about boys taking inappropriate pictures of girls, the teacher’s response is to instruct the girls to maintain their standards and avoid causing trouble. This moment highlights the underlying pressures Mira faces, shaped by societal expectations and gender norms.
Performances and Cinematography
Girls Will Be Girls is driven by two outstanding performances. Preeti Panigrahi shines as Mira, embodying the character’s curiosity and burgeoning self-awareness with subtlety and grace. Her portrayal of Mira’s internal journey — from youthful innocence to the complexities of emerging sexuality — is captivating. Kani Kusruti, known for her nuanced performances, is equally compelling as Anila. She navigates the complexities of being both a mother and a woman with her own desires and regrets, bringing emotional depth to her role.
The film’s cinematography, by Jih-E Peng, is equally striking. With its intimate, close-up shots and careful attention to detail, the visuals enhance the film’s emotional resonance, allowing the viewer to feel the tension and the delicate beauty of each moment.
Final Thoughts
Girls Will Be Girls is a quietly breathtaking film that asks tough questions about growing up, identity, and the complex dynamics between mothers and daughters. Director Shuchi Talati’s debut is an impressive one, blending a sensitive exploration of feminine experience with a sharp critique of societal pressures. The film’s portrayal of Mira’s coming-of-age journey is subtle, yet profound, and its emotional climax — though slightly extended — feels earned and deeply satisfying.
With standout performances from Panigrahi and Kusruti, and a thoughtful, observational style that lingers long after the credits roll, Girls Will Be Girls is one of the most compelling films of the year, offering a poignant commentary on the universal struggle to navigate adolescence and find one’s place in the world.
