Holly is a 15-year-old girl who seems to possess clairvoyance and magical healing abilities in the film “Holly,” directed by Fien Troch. However, the true nature of her powers remains ambiguous throughout the movie. Cathalina Geeraerts delivers a charismatic and subtly nuanced performance as the lead character, anchoring the film in a tonal complexity that may challenge audiences looking for easy answers and clear-cut moral dilemmas. Despite this, “Holly” has the potential to find its niche on the festival circuit and beyond.
The film initially teases different genres, flirting with the possibility of being a teen-themed horror show reminiscent of “Carrie” or a didactic depiction of the evils of bullying. However, it ultimately deviates from these expectations and transforms into a sly black comedy that highlights the impossibility of truly unselfish altruism.
Holly lives in a suburban Belgian town dominated by the Flemish language. She resides with her alcoholic mother and sister in an unsightly tower-block apartment, her father absent from the scene. Holly’s only real friend is her classmate Bart, who displays signs of autism through his stilted speech patterns and literal-mindedness. Despite facing teasing and mockery from their classmates, Holly and Bart are largely unbothered by the verbal bullying. However, Holly appears to internalize the criticism more than Bart, leading to a sense of depression.
One morning, Holly calls the school to report her sickness, feeling a premonition that something bad will happen. Shortly after, she witnesses her high school engulfed in flames from her window, resulting in the death of ten students.
Nine months later, the school community is still grappling with the tragedy. Teacher Anna, whose husband is a janitor at the school, becomes fascinated by Holly after hearing about her phone call on the day of the fire. Anna invites Holly to participate in a special field trip aimed at remembering the families who lost children in the fire. Despite her shyness and tendency to hide her face behind auburn hair, Holly demonstrates a natural talent for comforting people. Several parents claim to feel better after being hugged by Holly, leading to rumors of her faith healing-like abilities.
Holly herself is surprised by her sudden popularity but finds no reason to decline the money offered to her in gratitude for her services. Anna, struggling with fertility treatments, grows judgmental of Holly when she notices the teenager adorned in expensive jewelry and clothing. Anna also grows jealous when Holly successfully comforts her guilt-ridden husband, who blames himself for the students’ deaths.
In the film’s publicity notes, Troch explains that the script for “Holly” developed from a desire to create a comedy using leftover scenes and ideas from her previous films. Only the character of Holly remained from this early concept. As a result, the movie contains fragments of slightly odd and comedic scenes that don’t seamlessly fit into a narrative centered around deceased teenagers. However, one particularly funny moment involves Bart repeatedly being shuffled in and out of his classroom by a teacher and a cleaner polishing the floor.
Troch masterfully draws naturalistic performances from the young cast, evoking a vibe reminiscent of Sofia Coppola’s “The Virgin Suicides.” Thanks to Frank van den Eeden’s visually captivating cinematography and Johnny Jewel’s synth-led soundtrack, “Holly” captures the essence of troubled youth, featuring beautifully backlit girls with long hair.
With a runtime of 1 hour and 44 minutes, “Holly” offers a thought-provoking exploration of teenage experiences, clairvoyance, and the limits of altruism. The film’s nuanced performances, tonal complexity, and unexpected comedic moments make it a standout addition to the festival circuit and a must-watch for those seeking a fresh take on coming-of-age stories.
