"Joker: Folie à Deux" – A Sovereign State of Censorship
It’s clear that the direction of Joker: Folie à Deux is held hostage by modern-day censorship, where even films are not free from the iron grip of external pressures. The true essence of cinema, once an art form that could challenge and provoke, has been undermined.
The first Joker was an unflinching, raw portrayal of a man broken by society, transformed into a symbol of chaos, a reflection of a world that had failed him. But with Folie à Deux, it feels as though this chaotic spirit is being tamed, shackled by an unseen force that dares not let a criminal triumph or a villain become an anti-hero. There seems to be a deliberate attempt to ensure that Joker’s story ends not with him challenging the system, but rather with the system crushing him—anything to keep him from being glorified or seen as a victor against the law.
This isn’t a film that dares to make you uncomfortable anymore—it’s a film that plays it safe under the guise of creative expression. The true clowns here aren’t on the screen, but behind the curtain, orchestrating a version of events that feels sanitized for the sake of maintaining moral order. Cinema should provoke thought, challenge perceptions, and explore uncomfortable truths, but Joker: Folie à Deux serves as a stark reminder that even the most anarchic characters can be forced to bow to societal expectations.
A film worth avoiding if you are looking for a raw, unapologetic narrative. The Joker may have once symbolized defiance against the system, but in this sequel, it feels like the system won.
Who permitted this to happen is the real clown 🤡