FILMSNAP: A film review that is 300 words or less.
When a film pose questions, do they have to be answered? The Fits stages a mystery – a girls’ dance troupe is plagued by a series of seizures that have no discernible explanation – but doesn’t seem all too interested in figuring it out. The film instead uses these fits as a backdrop to explore the identity and development of its central character, Toni, an eleven-year-old tomboy played with tremendous vulnerability by Royalty Hightower.
She slowly involves herself in the dance group, gradually learning the moves and straying further away from her initial routine of training in the boxing ring with her older brother. She makes friends, gets her ears pierced, and plays in empty swimming pools. It’s a simple, contained story, exemplified by director Anna Rose Holmer’s decision to stage most of her narrative in a single location: the sports facility. Yet The Fits isn’t entirely grounded. Its eccentric score overrides its mundanity, and the fits are filmed almost as dance sequences. There’s an element of the supernatural to the seizures, an awareness of the metaphorical significance that they possess, despite several people, notably adults, treating it as a very real and scientific threat.
The film shares many similarities to Carol Morley’s The Falling: they both sculpt their narrative around seizures in a group of girls, and tie them to themes of self-discovery and sexuality. But The Fits is The Falling’s less woozy American cousin, a more placid interpretation that trades complexity for focus. It may lack dramatic intensity for the majority of its runtime, but its admirable restraint lets loose in its final, euphoric moment: an ambitious stab at surrealism that both conflicts with its tone and makes perfect sense. It may not answer its own questions, but The Fits doesn’t need to when its final image speaks for itself.