Asylum life is a difficult, often frustrating experience. Life in an asylum is not for the faint of heart and those who survive do so by adapting to their surroundings and relying on each other.
The deal in absolutes meaning is a blog that discusses the terrors of asylum life. It is a blog about how people deal with their day to day lives when they are living in an asylum.
In Paris, a woman who has been unjustly hospitalized attempts to flee with one of her caretakers. Based on the book “Le Bal des Folles” by Victoria Mas.
In a high-society family in nineteenth-century France, two brothers keep and share intimate secrets. France. Théophile (Benjamin Voisin) is urged by his family to marry a comparable woman, but he is an unobtrusively gay man who only his sister knows about. Given their strong connection, she may have a lot of faith in each other. Even yet, due of her sister, Eugénie (an excellent Lou de Laâge), it is probably easier for Theophile to speak out about his hidden life, since she has an ability, even though she has been a clairvoyant.
This is an interesting contrast in The Mad Women’s Ball, which is co-written and directed by French Treasure Mélanie Laurent (who adapts Victoria Mas’ book of the same name with screenwriter Christophe Deslandes) in certain respects. And, although I don’t expect Théophile to follow Eugénie when she is taken away from her family, the way this connection is set up seems needless and wasteful. I wouldn’t be shocked if Mélanie Laurent added the character to this version to have the narrative threat drop off so abruptly that she couldn’t possibly get to him in time.
Eugénie, on the other hand, discovers an heirloom while assisting her grandmother one night. When Eugénie’s grandmother inquires about how she discovered contact with the spirits, she tells her the truth. Eugénie’s mother wakes her up the following day with a weird and concerned expression on her face. She then tells her to get ready for an occasion for her brother and his upcoming wedding. Her mother is someone with whom she does not agree and who has a tendency of doing the wrong thing, as shown by her rejection of an upcoming ballroom ceremony that she believes is demeaning to women. Her father (and brother), much to her dismay, left her off in the prestigious Salpêtrière facility, fearful of the impact their gift would have on the family’s reputation.
Within minutes, Eugénie is naked, dehumanized, and labeled crazy. Dr. Charcot’s belief (Grégoire Bonnet) that his hypnotherapy methods are renowned for the “hysterical” women’s approach is very upsetting (including ladies who are shopping in his repulsive scientific research). There’s also a widespread consensus that many of the women aren’t quite as crazy as they seem. Some women who have been separated from their families have been permitted to conduct misinterpretations of crimes, are mentally challenged, or have suffered serious sexual abuse trauma. Eugénie soon became a friend and suggested that a guy named Jules (Christophe Montenez) take her away from all of that after a woman named Louise (Lomane de Dietrich) was mistreated and fell by blatant lies. Of course, she wants to know whether it’s true.
The answer is the annual Mad Women’s Ball, which was formerly a real-life event. This event was intended to face Eugénie’s hatred, who now seems to be the last hope for a decent night’s sleep, but only under bizarre and humiliating circumstances. A sequence in which patients bump and smash against one another to reach a cauldron of clothing and stake claims is one of the most recognized scenes in the film. It’s what makes a location of horrible pain exciting, even if the whole thing is meant to mock society.
In this regard, it is upsetting to see that The Mad Woman’s Ball refuses to take a careful look at these ladies, all of whom appear to be terrible stories worth knowing more about. Instead, the story focuses mostly on Eugénie’s punishments (a sequence of cruel psychotherapy may cause shudder to watch). She confirms her capacity to speak with spirits and does all she can to maintain her dignity (refusing to allow nurses to assist her in walking). Finally, in instances when it has worked admirably but they just have a vague idea of their existence due to convenient storylines, they begin conversing with dead loved ones or nurses. Various responses from nurses, on the other hand, are adequate to ensure that the device is not stopped.
Geneviève (Mélanie Laurent, who works three times here) is one of these chief guardians, and she responds as quickly as she can, especially given the necessity to contact her sister, who has grievously lost her. Geneviève spends a significant amount of time on a single screen, looking at her intimate life with her father, in an attempt to establish the intricate connection between them but also removing the intriguing terrors of asylum life and the approaching Ball.
Despite the fact that it’s essentially dumb, Lou de Laâge and Mélanie Laurent’s performances are genuine and superficial enough to turn torture into an inevitable (and predictable) daring escape. One character strives desperately to keep her self-esteem intact, while the other doubts her asylum work. As a result, this dynamic adequately portrays the Mad Women’s Ball, whereas the rest is either tossed away or mismanaged. It’s also tough to endorse a film that lacks realism in its primary premise of conversing to dead spirits and seems to exist only to further this narrative.
RATING: 5/10
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