Unspoken Universe: Following the Beat with Body Language. The Fits Movie Review.

5 pages
1170 words
Wesleyan University
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Movie review
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It is easy to imagine an interpretation of this movie in which, she never speaks, and her voice is not lost. Several of the major factors communicated in the dance group hits are verbal. As an alternative, they appear in Toni's emotions and movements. The film portrays the emotional dynamics experienced by adolescents where they long for social inclusion. They are mostly out of the focal point, figuratively and metaphoric. At first glance, the movie can be viewed as a dance film, but that is not the case nor is it a time-honored up coming of age story. Instead, The Fits is all about Toni's effort, meaning that she is peering at something that she does not quite realize while at the same time walking the fine line between two worlds of turning a strength into grace in the context of losing control of a young woman's body physically from having orgasms.

In The Fits, Toni just spends her time training as a boxer with her brother at the gym and is intimidated by the much older and larger boys who surround her. She is confident when trading punches with Jermaine or doing strength exercises on her own. Toni is a generous and kind girl, who does the laundry in the gym after training. She is very athletic for instance, when she goes out to hang out with her new dance group, she is upside down on the sidewalk pole.Sociologically like sexuality, glitters, earnings, basketballs, filtered water, and an open swimming pool are all parts of creating and strengthening the walls, which separate Toni from the rest of society. It helps to furnish the cracks, through which she can peer. The cracks are interesting, whether they supply answers or not. Holmer lets the camera zoom back at Toni, utilizing shot after the other in which she looks statically into the lens sitting inside a mirror, behind a window, or at the top of the pull-up bar of the camera. The effect created is one of the young staring at her audiences, who have no choice but to look right back.

Viewers are left to conclude for themselves what drives Toni away from the boys and toward the girls, given that she does not entirely fit into either group. The way she hangs outside Lionesss practice rooms proposes attraction and craving, but her carefully defended face does not give away whether she is reflective for female friends, starving for a new challenge, or just bored and questioning. When Toni finally starts talking, most of the conversation is practical, and down to earth as seen from the exchanges of information with Beezy and Maia, or casual joking around with her brother.

The most extraordinary things about The Fits is how much it invites the audience in by not implying out the meaning behind each moment. Holmer goes overboard with squealing, dissonant score, which feels like a bright shout for helpfulness by difference with all the low-key naturalism. For the greatest part, she leaves it to the spectators to map peoples involvement on to Toni, and response for herself whether she is happy in her day-to-day life, and what fighting or dancing takes to her.

With a smaller entertainment, results could turn anywhere from disturbing too unintentionally humorous, but with her young lead, Holmer has successes in reaching for the prize. Toni is someone almost otherworldly, with her powerful gaze making it seem likely that she could fall to the victim to one of these fits, or could somehow be producing them. Toni draws out sympathy as if slurping it through, could be excused for the desire to give a warning. Toni is just a kid, but Holmer gives her great power.

The Fits has a unique power, which is what makes it so outstanding. It creates a kind of mental disharmony, which makes it gratifying to understand Hightowers achievement through the film. Tonis extraordinary grace makes it all too understandable that her poor dancing at the opening of the movie is a piece of physical acting. All whereas making the questions approximately about those fits seem worthless. Whoever they may be, and from wherever they might spring from, the consequences are the same: individuals all want to find a way to fit.

The fit becomes a coded way of speaking about orgasms. The fit can be categorized only in personal, mental terms. The fit takes each girl differently, and they range in spite of adults puzzled powers to contain, control or even describe them. The orgasms end up marking the older girls first, with the younger ones observing on with jealousy or fear. Toni in specific wants nothing to do with them, and it is easy not to develop one of the highly feminized youths who run the Lionesses in a twirl of fitted clothes, decorative hairdos, and harsh attitudes. It is also easy to see Holmers psychedelic images, enjoyment in sensuality and physical knowledge. Which goes outside the beautiful girls and boys, coupling ceremonies the Lionesses discussed in their locker rooms.

With such feelings regulating everything, the characters think and feel, it is no wonder Tonis challenges at dialogue, which seems inadequate to the task. Holmer substitute is warm, the convincing imagery of Toni working out, practicing her dance moves, or running through the dark society center after times with Beezy; still appreciating the beginning of a child even with the teenage and maturity looming in the distance. The fits are attractively shot, with a crisp proximity that makes Tonis dark skin look particularly gorgeous, and that brings some smart advances to the framing. One particular standout is an arrangement where yet another girl falls target to the fits but is only seen evidently through the smartphone screens of her equals as they film her terrified inhales. It is yet another instance where Holmer does not spell out what her characters are thinking. Watchers are preserving the instant for later pleasure and distribution. Is there a documentarian trying to get at the truth the young grownups queries into the fits have unsuccessful to tell? Are they just scared, and separating themselves from the victim by turning her into the display? When Holmer does not spell out any one of these capacities, she opens up the substantial opportunity that it is all there.

Conclusively, The Fits is a film attuned to the fluctuating condition of the protagonist, and it climaxes in an eruption of hallucinatory sights that show both her growth and aspirations. The movie does not offer straightforward answers to its actual meaning but suggests that everyone tries to find a means of belonging.


Works Cited

Rooney, David. The Fits: Venice Review.' The Holywood Report, 9th April. 2015, http://www.hollywoodreporter.com/review/fits-venice-review-820431.

Schager, Nick. Sundance Film Review: The Fits. Variety, 19th Jan. 2016, http://variety.com/2016/film/features/the-fits-review-sundance-1201683106/

Shoemaker, Allison. Film Review: The Fits. Consequence of Sound, 7th June. 2016, https://consequenceofsound.net/2016/06/film-review-the-fits/The Fits. Dir. Anna Holmer. 123 Movies, 2015. Film.https://123movies.co/movie/the-fits/?watching


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