Joker: Folie à Deux – Film Review

Todd Phillips returns to Gotham with Joker: Folie à Deux, a riveting sequel that builds on the disturbing, gritty foundation laid by its 2019 predecessor. This time, Phillips takes the film into daring new territory by embracing a jukebox musical structure, creating a disturbing symphony of madness that deepens the psychological exploration of Arthur Fleck’s transformation into the Joker. With Joaquin Phoenix reprising his Oscar-winning role and Lady Gaga delivering a haunting performance as Harleen “Lee” Quinzel, Joker: Folie à Deux expands the psychological thriller into a darkly operatic spectacle.

The film picks up two years after the events of Joker (2019), with Arthur Fleck now in custody at Arkham State Hospital, awaiting trial for his gruesome crimes. This transition is significant, as Arthur’s mental state has deteriorated further, with his personality fragmenting into different identities, one of which is still the Joker. Phillips and co-writer Scott Silver present Arthur not just as an agent of chaos but as a man deeply embroiled in a personal battle against his own psyche.

Arthur’s story is grounded in psychological horror, but the musical interludes—where reality often distorts—add an unexpected layer to the narrative. Songs become moments of intense emotional release, giving insight into Arthur’s fractured mind while making a bold stylistic statement. These sequences could have easily disrupted the film’s tone, but Phillips integrates them seamlessly, balancing the dark, grounded moments with the dreamlike, melodic ones.

A major highlight of Folie à Deux is the introduction of Lady Gaga’s Harleen Quinzel, or “Lee,” as she prefers to be called. Gaga’s performance is magnetic, capturing the essence of someone equally broken, though in a very different way from Arthur. Lee is an enigmatic figure—a psychiatric patient whose past is filled with lies and half-truths. Her manipulative relationship with Arthur is simultaneously seductive and disturbing, as she admires the Joker’s violent persona while seeking connection with Arthur’s fragile, vulnerable side.

Gaga’s musical prowess is also on full display. In several poignant musical sequences, her voice carries an emotional weight that conveys Lee’s deepening infatuation with Arthur and her descent into her own brand of madness. One standout moment involves a duet between Arthur and Lee, where the music contrasts their chaotic romance with tender melodies, reflecting their shared instability. It’s a twisted love story that feels doomed from the start but is engrossing nonetheless.

While the film retains the bleak, oppressive atmosphere of Gotham from the first Joker, Folie à Deux feels even more suffocating. Arkham State Hospital, where most of the film takes place, becomes a central character in its own right—its cold, institutional halls mirroring the psychological confinement that Arthur and Lee experience. The hospital’s cruel reality is punctuated by brutal sequences, particularly Arthur’s interactions with the guards, led by Brendan Gleeson’s Jackie Sullivan. Gleeson’s performance as Sullivan—a sadistic authority figure who relishes in his power—adds another layer of tension to the film, serving as a stark contrast to Arthur’s unraveling mental state.

This sense of powerlessness and systemic cruelty amplifies the film’s already heavy themes of societal abandonment and institutional failure. Yet, Phillips doesn’t allow the film to drown in hopelessness; instead, he uses the chaos and violence as a backdrop for Arthur’s inner transformation. The film’s climax is particularly hard-hitting, with an explosion of violence that is more chaotic and unpredictable than the first film’s slower, more calculated brutality. Arthur’s final confrontation with his identity and the Joker persona is both harrowing and cathartic.

At its core, Joker: Folie à Deux is a film about identity—specifically, the fractured nature of Arthur Fleck’s sense of self. Phillips explores the boundaries between reality and delusion, often leaving the audience unsure of what is real and what is a product of Arthur’s dissociative mind. The inclusion of Harvey Dent (though not in the traditional form that fans of the comics might expect) adds an interesting legal angle to the narrative. Dent’s role in the trial forces Arthur to confront his actions, and it’s in these courtroom scenes that the film delivers some of its most emotional moments.

Arthur’s relationship with his lawyer, Maryanne Stewart (played by Catherine Keener), offers glimpses of empathy, but it’s clear that even she cannot reach him. The revelations about Lee’s true background—her lies about her past and motivations—further underscore the theme of unstable identities. Just as Arthur is lost in the Joker persona, Lee’s obsession with him becomes her own downfall, making their relationship as toxic as it is compelling.

The jukebox musical format could have been a significant risk, potentially clashing with the dark, gritty aesthetic of the Joker universe. However, Phillips uses music as an emotional release valve, creating sequences that reveal more about Arthur’s internal world than words or traditional scenes could. The contrast between the film’s grim, violent tone and the often dreamy, whimsical musical numbers adds a surreal quality that draws the viewer deeper into Arthur’s psyche.

Lady Gaga’s songs, in particular, stand out, as her performance adds a theatrical flair that works within the context of the musical numbers without undermining the film’s dramatic stakes. The music enhances rather than detracts, making Folie à Deux feel like a more complete and multifaceted exploration of its characters’ psyches.

Joker: Folie à Deux takes significant risks, but it’s those very risks that make it an unforgettable experience. It builds on the groundwork of the first film but pushes the envelope in terms of style, tone, and narrative complexity. Joaquin Phoenix delivers another masterclass in acting, portraying Arthur Fleck’s tortured mind with heartbreaking vulnerability, while Lady Gaga proves to be an inspired addition, bringing both passion and madness to the film.

For fans of the first film, this sequel is a bold evolution of the story. With its blend of psychological thriller, musical interludes, and deep character study, Joker: Folie à Deux is a unique cinematic experience that resonates long after the credits roll. While not without its flaws, it is a thrilling, disturbing, and ultimately satisfying continuation of Arthur Fleck’s descent into madness.