(Written by Allison Brown)
Neurodivergence has recently become more widely accepted through the popularity of mainstream television like Love on the Spectrum and Down for Love, as well as social media. Despite the hatred prevalent in some arenas in the political spectrum, tolerance for one’s unique flaws and quirks seems to thankfully be on the rise, contrary to what may have instilled bullying prior. Just four years ago, controversial narrative Music offered a problematic and offensive autistic, female lead to much public dismay. In this renewed landscape of patience, Lauren Meyering’s tender dramedy Horsegirls finds its place in the festival circuit, making a splash with 22-year-old bombastic Margarita (Lillian Carrier) at its core.
While at first off-putting, grating, and childlike, fondness soon grows for this young woman as she makes her way in the world. Horses are at the center of her universe; she rides a bike with a plush pony head, relaxes below mare windchimes, and plasters her bedroom with horse memorabilia. Although initially bordering on infantilization, Margarita’s character development displays her strength and ability to navigate difficult, emotional situations.
Her mom, Sandy (Gretchen Mol), is undergoing chemotherapy for breast cancer while single-handedly raising a child with behavioral challenges. At the same time, Margarita must finally face adulthood by reluctantly accepting employment and learning to care for herself. Only then can Sandy feel reassured of her daughter’s capability to stand on her own two feet. Through this quest for independence, Margarita stumbles upon a class of middle-school aged girls rehearsing a choreographed routine with artificial horses —an uncanny match for her own special interest. She eventually busts in, joining the ragtag gang of misfits, at the detriment of her big girl job at a Halloween store. She may have finally found a place where she belongs, but is it truly constructive given her current circumstances, or even appropriate for her age?
Meyering sprinkles in magical realism throughout, as our adolescent lead’s imagination awakens. A poster comes alive with galloping stallions, Margarita soars through the air on her toy steed as if it were a broom, and actual gentle giants are humorously subtitled, showing support for her struggles. While the filmmaking largely impresses, the use of slow-motion, blurred cinematography during the protagonist’s meltdowns feels somewhat out of place, and stylistically inconsistent. Additionally, Tony Hale is painfully underutilized, barely making a mark as Uncle Patrick. Fortunately, these are minor flaws that do little to diminish the overall impact.
Horsegirls heartwarmingly portrays the power of human connection, particularly in the closeknit mother-daughter bond, despite vast differences in experience. Mol and Carrier have immense chemistry as they bicker on screen while managing grief. Both ultimately find their way back to one another, and are forced to accept the uncertainty and unforgiving nature of the universe.
Tears are inevitable in the final few frames, so have your tissues ready when Horsegirls premieres at the 2025 Tribeca Film Festival on Monday, June 9th.
