When you think of coming-of-age stories, they often highlight that first feeling of love, tender but strong, and fighting the world to protect that love. These narratives are usually romantic, with a crisis that ultimately strengthens the bond. They usually make light watches. But real life coming-of-age experiences don’t always go so well, does it? There are so many dilemmas, conflicting emotions, overwhelming thoughts and feelings that it is difficult to understand. There’s a certain intensity that we’ve probably all gone through. Shuchi Talati’s Girls Will Be Girls captures that intensity with precision.

Girls Will Be Girls is a well-crafted story that highlights the complexities of human emotions. On top of this is the character of Meera, played by newcomer Preeti Panigrahi, who breaks the glass ceiling as the first female head prefect of a co-educational school, tasked with implementing “Indian tradition” in the school. Is assigned. Read below about knee length skirts, pulled up socks for girls and no problem for boys). Of course, boys have it easier, and the teacher may have no objection to a girl wearing an above knee-length skirt, but is okay with three boys trying to take upskirt photos.

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She is considered a rule-abiding, ideal prefect who helps teachers monitor their morals. But, she is also a teenager, a soon-to-be 18-year-old (later known as 18) who is going through sexual awakening and self-discovery. Not only does she have to find sneaky ways to bend the rules a bit, but she also finds herself attracted to a new student, Srinivas (played by Kesav Binoy Kiran), who has recently arrived from Hong Kong. Adding to his challenges is his over-protective mother, Anila (Kani Kasruti). She travels from Haridwar to be near her daughter just before the exams. For Anila, Meera’s academic performance is a reflection of her success as a mother. If Meera does not perform well, her father will hold Anila responsible.

Anila is also built tough, the exact opposite of who she was at her daughter’s age – a rebel who left home to be with the man she loved. He is also Mira’s father, but it is clear that their relationship is strained, and she is very lonely, with her daughter also becoming more involved with her father.

A complicated situation arises when Anila gets to know Meera’s new ‘friend’. She invites Srinivas to spend time with the family, but is careful to ensure that Meera and Srinivas do not spend too much time alone together. After all, in a small mountain town like the one shown, secrets don’t stay hidden for long. And, from her friend Priya (Kajol Chugh) to her mother, everyone has an idea of ​​what’s going on.

The treatment makes it very clear that the film is from the female perspective. Be it a young woman’s desire to understand her body and explore sexuality or an older woman’s longing for someone to just listen to her, director Talati treats the female characters with kindness. While the strict teacher, Mrs. Bansal, is portrayed as a victim of social hegemony, the seemingly rebellious Anila is also unknowingly following conservative social norms, becoming complicit in the patriarchy. Mira, although extremely rebellious, often follows orders she does not fully agree with in order to protect her position. Even the slightest drop in her marks, or rumors about her closeness with Srinivas are enough to make her fall from grace.

Shuchi Talati also often uses visual metaphors to tell the story and the characters’ internal conflicts. Whether it’s three cups one of which is left alone in a scene, or the use of viewing instruments like binoculars or a microscope, visual metaphors abound, and they say a lot without saying anything at all.

The best part was the background music, or rather its absence, which adds to the tension of every sequence, be it between the mother-daughter duo in the presence of the male figure, Srinivas aka Sri, or between Sri and Meera yes. The pace of the storytelling is slow, giving the audience time to soak in the scenes they see before them and digest the discomfort they feel. As a woman, I often felt claustrophobic during the scenes, it was only then that I realized how beautifully the film depicted the sexuality of women buried under the heavy burden of patriarchal expectations.

Preeti Panigrahi gives the performance of a lifetime as a teenager going through internal conflict. The 22-year-old is absolutely perfect in her portrayal, which is very natural and effortless. Winning the Special Jury Prize for Acting at the 2024 Sundance Film Festival This is no mean feat, so you can imagine how great his performance can be. His exchanges with Kani Kasruti, an experienced and one of the most subtle actors, drive much of the film, but otherwise too, he captures every body movement, from slight hesitation or disappointment to fear to excitement. Till, catches with perfection. The camera hovers over her throughout the film, and she commands your attention, almost dominating most scenes.

Kani Kashruti gave space to Preeti to own the scenes, while remaining present as a formidable force, like a mother. Her eyes light up with excitement when a boy shows interest in her life and Kasruti brings Anila’s character to life in a way that is both delightful to watch but also sad at the same time.

Kesav Binoy Kiran, who also debuts with the film, plays the role of a diplomat’s son who is trying to find the keys to the people. That is equally good, but the film remains a Preeti Panigrahi show.

For me, Girls Will Be Girls was almost uncomfortable, but one of the most beautiful and best and most perfectly made movies of recent times. This isn’t your run-of-the-mill Christmas watch, but it’s still a must-see.

Girls Will Be Girls is produced by Pushing Buttons Films’ Richa Chadha, Dolce Vita Films’ Claire Chassagne, Crawling Angel Films’ Sanjay Gulati and the director himself, with Ali Fazal serving as executive producer. It’s now streaming on Prime Video,