In a unique exploration of democracy’s youthful practice, filmmakers Jesse Moss and Amanda McBaine present for the second time, a portrayal of teenagers immersed in the simulation of democratic institutions. Their latest offering, ‘Girls State’, parallels the successful 2020 documentary ‘Boys State’, delving into the lives of young women as they engage in a leadership program that entices them to draft their own state, complete with elected officials, legislative bodies, and a simulated Supreme Court.
This mock society mirrors an idealistic, yet critical examination of democracy itself. In the words of Moss, the experience is akin to the famous adage that describes democracy as the “worst form of government training – apart from all the others.” The setting provides one of the rare environments in today’s polarized climate where individuals from diverse political backgrounds engage in discourse. Moss observes that it presents an invaluable window into the mechanics of democratic governance.
The timing of the film’s shoot is particularly significant as it unfolds during a period of intense national anticipation around the potential overturning of Roe v. Wade by the U.S. Supreme Court. The film doesn’t shy away from hard-hitting issues, documenting the girls’ hands-on experience with a case closely related to that controversial subject. The viewers witness not just the moral terrain of the abortion debate, but also a deep dive into the intricacies of a weighted legal case.
Nisha Murali, one of the charismatic teenagers featured, articulates the program’s educational approach. Rigorous involvement fosters an environment where delegates identify first and foremost as peers and potential allies before they recognize each other as political opponents.
The distinct pathways of political engagement between gender-segregated groups are both acknowledged and challenged in ‘Girls State’. Moss notes that while the girls receive cautious initial guidance, the boys dive headfirst into the political realm. The film captures this disparity, reflecting the frustration experienced by both the subjects and the audience.
The segregated nature of the camps, although taking place on the same campus, inspires further questions about the integration of genders within these programs. While both films highlight various contradictions within American society and political systems, the possibility for transformation and change is also evident. Nisha offers her perspective on this complex reality, noting the importance of recognizing shared struggles and the potential benefits of gender-specific programs to dismantle political barriers.
Documenting the genuine camaraderie and burgeoning political aspirations of these teenagers was a meticulous and collaborative endeavor. The filmmakers, considering cast members as collaborators, selected participants who embodied both the political initiative and emotional openness necessary for such an intimate visual portrayal. Each subject was accompanied by a dedicated camerawoman throughout the week-long program, facilitating an immersive storytelling experience.
Nisha’s lesser initial spotlight in the documentary allowed her to adapt more comfortably to the filming process, culminating in a meaningful connection with her director of photography (DP). For Amanda McBaine, capturing the supportive nature of a vast assembly of driven, informed youths was a moving counter-narrative to the cynical expectations of politics.
Post-production, the participants, like Nisha, reflect on the broader scope of insights gained from their time at Girls State. Pursuing engineering in college, Nisha espouses the value of learning from failure, highlighting that determination and adaptability are equally important as success. Her experience speaks to the essence of documentary filmmaking that Moss describes – an openness to the unpredictable nature of life, hinging upon intuition and chance, a metaphor for the transformative potential for young people at Girls State.
