Five years after the 2019 Venice premiere of Joker, the film faced criticism about the idea of a blockbuster competing in the festival. Yet its Golden Lion win for Best Film and a box office surge to over a billion dollars, along with two Oscar nominations including Best Actor for Joaquin Phoenix, underscored its undeniable impact.
Now the sequel Joker: Folie a Deux sits on a different shore. Its festival presence in this year’s Venice lineup was anticipated long before the official announcement, and the festival’s honors bestowed upon it are comparatively modest. While a blockbuster-styled triumph at the global box office seems likely, many observers would be surprised to see it reach the Oscar shortlist, based on the current landscape. The director recalled that the first Joker drew little attention during filming, yet the team soon realized the growing gaze of audiences. Regardless of expectations, the sequel’s potential influence on audiences remains substantial and continues to fuel discussion about its ambitions and themes.
The most striking aspect of the original film involved exploring the origin of the central character, Arthur Fleck, a figure influenced by Batman lore and a lineage of cinema associated with Martin Scorsese, including Taxi Driver and The King of Comedy. To create a fresh effect, the sequel shifts to examine the consequences of Fleck’s actions and his evolving relationship dynamics, incorporating Harley Quinn as a central figure and transforming the project into a space where music and choreography become integral to storytelling.
Director Todd Phillips, Lady Gaga, and Joaquin Phoenix appeared in Venice amid discussions about the film’s musical identity and its approach to character expression through song. This musical dimension is presented as a natural extension of the storytelling method rather than a departure from the franchise’s core. The musical selections are framed as tools for the characters to convey their inner states, aligning with the broader tradition of musical films where song advances narrative and mood.
In other words, Joker: Folie à Deux embraces a musical genre as a defining feature, a choice that prompts questions about whether the shift enhances or distracts from the dramatic arc. The project is described as a saga of events lasting over two hours, with a continuing focus on Fleck’s trauma and vulnerability. Some critics view the film as a departure from the lean pace of the original, inviting debate about whether longer runtimes serve the story or merely extend spectacle.
As Phillips explained, the connection between the character’s inner music and the film’s soundtrack remains central. The musical moments serve to redirect tension and invite the audience to engage with the characters on a different plane. Covers of classic songs by Frank Sinatra, the Carpenters, and Jacques Brel appear, and their placement raises questions about how well they fit the narrative and whether they function as meaningful commentary or as stylistic devices. The result is a film that invites diverse interpretations and sparks conversations about its artistic intentions.
What stands out in the reception is a sense that the sequel marks a quick, decisive turn after the original’s buildup. The narrative structure is described as an initial turn followed by a rapid release, prompting discourse about whether the work offers a conclusive arc or leaves room for further exploration. Some critics remind readers that the first Joker faced controversy over its portrayal of violence and alignment with certain subcultures, while Folie à Deux seeks to clarify those concerns through its artistic choices and dramatic framing.
In discussions about the film, Phoenix has suggested there is room for different interpretations, though recent reports indicate some project changes that affected production plans. One notable point is the tension between star commitments and project economics, illustrating how decisions at the actor level can ripple through the industry. A question that often arises is whether the film should be read as a commentary on society and violence or as an entertainment-driven spectacle with immersive musical moments. The answers depend on the viewer and the frame through which the film is approached.
Despite mixed early commentary, Joker: Folie à Deux remains a strong contender in Venice and is likely to be evaluated against other festival entries on quality of craft and public resonance. Other competing works, such as Playing with Fire by a French duo and Diva Futura by another director, have sparked debates about representation, genre, and form, with opinions ranging from provocative to provocative and provocative. The broader discussion touches on how contemporary cinema negotiates social themes while balancing entertainment and artistic risk, a conversation that continues to evolve as more audiences weigh in. The conversation about the film’s goals and its impact on the festival ecosystem is ongoing, with many eagerly awaiting future responses from critics and viewers.