A lady in Paris who is wrongfully hospitalized tries to get away with one of her caregivers. Based on Victoria Mas’ novel ‘Le Bal des Folles.’
Two siblings contain and share personal secrets in 19th Century France, a family of high society. France. Théophile (Benjamin Voisin) is encouraged by his family to marry a similar lady but is unobtrusively homosexual, known only by his sister. She may have much trust for one another, given their close relationships. Still, for Theophile, it is probably simpler to open up concerning his secret existence, as she possesses a capacity, even though she has been a clairvoyant, because of her sister, Eugénie (an outstanding Lou de Laâge).
This is a fascinating and first act of a juxtaposition in The Mad Women’s Ball, which, in certain aspects, is co-written and directed by French Treasure Mélanie Laurent (which adapts the Victoria Mas’ novel with the same name as the scriptwriter Christophe Deslandes). And while I don’t anticipate Théophile to follow when Eugénie is thrown away from her family, it feels as though the configuration of this relationship is unnecessary and wasteful. I wouldn’t be surprised if Mélanie Laurent were to add the character to this version to make the drop off of the narrative danger so abrupt that she could not go to him anyhow late.
However, Eugénie finds an intentional heirloom one night while aiding her grandma. Eugénie comes clean with the facts regarding communication with the spirits when her granny asks her how she may discover it. Eugénie’s mom wakes her up the next day and gives her a strange and worried look. She then commands her to prepare for an event for her brother and his inevitable bride. Her mother is somebody she does not see eye to eye with and has the habit of doing the wrong thing, particularly with the rejection of a coming ballroom ceremony that she perceives to be degrading to women. Her father (and brother) dropped her much to her dismay at the famed Salpêtrière institution, afraid of what their gift will do for the image of the family.
Eugénie is nude, dehumanized, and branded insane within minutes. Also distressing is Dr. Charcot’s conviction (Grégoire Bonnet) that his hypnotherapy procedures may be known for the “hysterical” women’s approach (including ladies who are shopping in his repulsive scientific research). There is also a general understanding that many of the ladies are not as cuckoo as everyone would think. Some women excluded from their families are allowed to commit misinterpret crimes, are mentally challenged, or experience severe sexual abuse trauma. A lady called Louise (Lomane de Dietrich) abused and fallen by flagrant falsehoods, Eugénie soon became a friend and proposed that a man called Jules (Christophe Montenez) take her away all of that. She’s, of course, anxious to know if.
The solution is the yearly Mad Women’s Ball, an event that previously existed in real life. This event was supposed to confront the hate of Eugénie, who now appears to be the only chance for a good night, but under twisted and humiliating conditions. An overview of patients who bump and bang on one other is a most remembered scene of the movie to reach a cauldron of clothes, staking claims. It’s what is thrilling in a place of terrible torment, even when the entire event is intended to parody civilization.
In this respect, it is distressing to note that The Mad Woman’s Ball does not want to look closely at these women, who all appear to be horrific tales and are worth learning more about. Instead, the narrative focuses mainly on the sanctions against Eugénie (a sequence of cruel psychotherapy may cause shudder to watch). She does all she can to hold on to her dignity (refuse to allow nurses to help her walk) and reaffirms her ability to communicate with spirits. Finally, in situations where, while it has performed believably, they only sense that they exist to handy plots, they start talking to deceased loved ones or nurses. However, various replies from nurses are sufficient to guarantee that the device is not stalled.
Geneviève (Mélanie Laurent, who works three times here) is one of these head guardians, with the best possible response, particularly given the need to contact her sister, who has lost her terribly. Geneviève devotes a reasonable amount of time on a single screen to look at her private life with her father, in an effort that strives to achieve the complex link between them but also eliminates the fascinating terrors of asylum life and the impending Ball.
Although it’s fundamentally stupid, Lou de Laâge and Mélanie Laurent’s performances are realistic and shallow enough to make everything from torture into an inevitable (with foreseeable outcomes) daring escape. One character frantically tries to maintain her self-esteem while the other questions her asylum job. Therefore, this is a dynamic that sufficiently represents the Mad Women’s Ball, while the remainder either gets thrown apart or mishandled. It is also difficult to recommend a film that lacks naturalism in the central conspiracy of talking to dead souls and seems to exist to push this plot forward.