Joker: Folie à Deux

Joker: Folie à Deux

Company type	Film
Industry	Motion picture
Founded	2024 (2024)
Founder	Todd Phillips, Scott Silver
Headquarters	Los Angeles , United States
Products	Film
Parent	Warner Bros.

Joker: Folie à Deux is a 2024 American jukebox musical legal drama directed by Todd Phillips, who co-wrote the screenplay with Scott Silver. Drawing from DC Comics characters, this film serves as the sequel to Joker (2019), featuring Joaquin Phoenix reprising his role as Arthur Fleck / Joker alongside Lady Gaga portraying Harley "Lee" Quinzel. The supporting ensemble includes actors such as Brendan Gleeson and Catherine Keener. The narrative follows Arthur while he awaits trial at Arkham State Hospital and explores his growing connection with a fellow inmate.

Initially planned as a standalone project, the original Joker’s commercial success prompted Warner Bros. to develop a follow-up. Both Phillips and Phoenix returned, granted increased artistic control and a larger budget. The sequel was officially announced in June 2022, with Gaga and Beetz joining the cast later that year. Filming took place across New York City, Los Angeles, and Belleville, New Jersey, from December 2022 through April 2023.

The world premiere of Joker: Folie à Deux occurred at the 81st Venice International Film Festival on September 4, 2024, followed by its U.S. theatrical release on October 4. Despite high expectations, the movie failed to meet critical and financial forecasts, earning $207.5 million globally against an estimated $190–200 million budget, marking it as a box office disappointment. It garnered seven Golden Raspberry Award nominations, winning for Worst Remake, Rip-off or Sequel and Worst Screen Combo for Phoenix and Gaga.

Plot

The animated short "Me and My Shadow" depicts the Joker’s shadow impersonating him during a violent takeover of a TV musical number before reuniting with him as police arrive.

Set in 1983, Arthur Fleck is detained at Arkham State Hospital awaiting trial for offenses committed two years prior. His attorney Maryanne Stewart intends to argue that Arthur’s dissociative identity disorder places responsibility on his Joker persona. During a music therapy session, Arthur encounters Harley "Lee" Quinzel, who shares a troubled history and expresses admiration for Joker’s criminal acts. Their bond intensifies as they envision their lives unfolding within a musical stage show fueled by their mutual madness.

At a film screening event, Lee ignites a fire; both are apprehended, resulting in Arthur’s placement in solitary confinement. Lee visits him afterward, revealing she is being released but vows to attend his trial. They engage in an intimate encounter before her departure. Subsequently, Arthur performs a song dedicated to Lee during a television interview, deepening her emotional attachment.

During the trial, Assistant District Attorney Harvey Dent calls witnesses who refute Arthur’s insanity plea, including neighbor Sophie Dumond. Maryanne exposes that Lee was actually an Upper West Side psychiatry student with no history of abuse or criminal activity; she voluntarily admitted herself to Arkham. Lee confesses fabricating her background to get close to Arthur but discloses she is pregnant and has moved into his former apartment to create a home.

The following day, Arthur dismisses Maryanne and chooses self-representation. After witness Gary Puddles testifies, Arthur offers no defense but mocks Arkham staff during his address. Back at Arkham, head guard Jackie Sullivan and others retaliate by assaulting Arthur in the showers. When inmate Ricky confronts the guards over this abuse, Jackie kills him—a traumatic event for Arthur.

In court, Arthur renounces his Joker identity and accepts full accountability. Lee storms out angrily; the jury convicts Arthur of murder. As the verdict is announced, an explosion outside the courthouse injures many and disfigures Harvey Dent’s face. Amidst the turmoil, two followers assist Arthur’s escape but are abandoned when he realizes they idolize only his Joker persona. Roaming Gotham City alone, Arthur encounters Lee on the steps outside his old apartment; she rejects him due to his renunciation of Joker. Police then capture him and return him to Arkham.

The next day, while being escorted down an empty corridor for a visitor meeting, a young inmate attacks Arthur with a shank while laughing maniacally and carves a smile onto his own face as Arthur bleeds out.

Cast

• Joaquin Phoenix portrays Arthur Fleck / Joker, a mentally troubled criminal adopting a clown persona, formerly a struggling party clown and aspiring stand-up comedian. Director Todd Phillips highlighted that Arthur is not intended as the "Clown Prince of Crime" but rather an unwilling emblem for those who show him affection.
• Lady Gaga plays Harley "Lee" Quinzel, a patient at Arkham State Hospital who becomes fixated on Arthur, developing a complicated romantic connection. Phillips characterized this iteration as manipulative and lacking moral compass, differing from traditional depictions to suit the film’s realistic tone. Gaga described Lee as a "study of contradictions," combining feelings of reverence and revulsion.
• Brendan Gleeson appears as Jackie Sullivan, an abusive guard at Arkham.
• Catherine Keener takes on the role of Maryanne Stewart, Arthur’s legal representative.
• Zazie Beetz plays Sophie Dumond, Arthur’s former neighbor and imagined love interest introduced in the initial film.
• Steve Coogan portrays Paddy Meyers, a well-known television host who interviews Arthur inside Arkham.
• Harry Lawtey embodies Harvey Dent, the newly appointed assistant district attorney aiming to prosecute Arthur. Lawtey crafted his own background for Dent, depicting him as cynically ambitious amid highly publicized trials. Phillips included subtle hints foreshadowing Dent’s eventual transformation into Two-Face.
• Leigh Gill is Gary Puddles, Arthur’s ex-clown colleague whom he spares.
• Ken Leung plays Dr. Victor Liu, a psychologist offering testimony during Arthur’s court proceedings.
• Jacob Lofland portrays Ricky Meline, an inmate at Arkham who admires Arthur.
• Bill Smitrovich acts as Judge Herman Rothwax, presiding over Arthur’s trial.
• Sharon Washington is Debra Kane, Arthur’s former social worker.

Additionally, Connor Storrie appears as a young Arkham inmate who observes and ultimately kills Arthur, implied to become the next Joker; however, Phillips has not confirmed this character’s future significance. Comedian Tim Dillon features as an Arkham guard requesting Arthur’s autograph on his book, which displays a cover resembling Marc Maron. Nick Cave provides the singing voice for Joker’s shadow in the opening animated sequence. Archive footage from Joker includes appearances by Robert De Niro as Murray Franklin and Frances Conroy as Penny Fleck.

Development

The 2019 film Joker was conceived by Warner Bros. as an independent project intended to launch DC Black—a series of darker, more experimental films based on DC Comics properties distinct from the DC Extended Universe (DCEU). Even prior to completing filming, Joaquin Phoenix expressed enthusiasm about reprising his role as Arthur Fleck after envisioning his character performing on stage in a dream. This inspired discussions with director Todd Phillips and producer Toby Emmerich about a possible musical sequel. Although Phillips initially indicated that the movie was not designed for continuation, he remained receptive depending on Phoenix's interest and the film's reception.

Following Joker’s box office success exceeding $1 billion globally, Phoenix and Phillips explored creating a Broadway-style sequel rather than a conventional follow-up charting Arthur’s transformation into Batman's adversary. Phillips concentrated on depicting Arthur’s psychological unraveling and its societal repercussions instead of adhering to traditional comic book storylines. In late 2019, reports emerged regarding sequel development involving Phillips, writer Scott Silver, and Phoenix returning; however, Warner Bros. clarified that no formal negotiations were underway at that time. The COVID-19 pandemic altered plans from staging a theatrical production to developing a sequel film incorporating musical elements, with Phoenix proposing a narrative pairing Arthur with a "female Joker," leading to Harley Quinn's inclusion.

By June 2022, new leadership at Warner Bros. approved the sequel titled Joker: Folie à Deux, with Phillips and Silver collaborating on the screenplay. Early in 2023, DC Studios co-CEO James Gunn confirmed the project as part of DC Elseworlds—existing outside the primary DC Universe continuity. Phillips aimed to craft a daring film blending music, drama, comedy, and romance without traditional musical numbers; instead, songs function as emotional outlets for Arthur and Harley rather than formal performances.

Lady Gaga approached her role as Harley Quinn with an unconventional vocal style that prioritized emotional authenticity over technical precision, drawing inspiration from figures like Charles Manson to convey complex character dynamics. Phillips emphasized adopting a "rawer" singing technique to express instability and genuineness. The movie opens with an animated segment by Sylvain Chomet and includes varied scenes such as prison uprisings and courtroom confrontations. An original ending featuring a young Arkham inmate carving a Glasgow smile was added after prior restrictions imposed by Christopher Nolan were lifted due to shifts in studio relationships.

In October 2024, Phillips confirmed he does not plan to pursue further DC films beyond these two Joker installments and declined proposals for sequels or spin-offs focusing on Harley Quinn or other characters.

Casting

Soon after the film was announced, Lady Gaga entered negotiations to take on the role of Harley Quinn in this musical follow-up. She approached the character as a distinct and novel challenge, different from her previous performances in A Star is Born (2018) and House of Gucci (2021). Gaga also related to the film’s exploration of identity and duality, themes resonant with her public image. Her casting was officially confirmed later that summer, with a reported salary of $12 million.

By August 2022, Zazie Beetz began talks to return as Sophie Dumond, a confirmation that came in September alongside announcements of new additions Brendan Gleeson, Catherine Keener, and Jacob Lofland. Gleeson accepted his part out of admiration for both Phoenix’s original portrayal and Gaga’s involvement but admitted feeling somewhat “intimidated” by the role.

In October, Harry Lawtey was revealed in a key role, later identified as Harvey Dent through the official trailer. Lawtey earned this part after submitting an audition tape and receiving a direct offer from director Todd Phillips, despite initially having modest expectations about his chances.

Filming

Principal photography commenced on December 10, 2022, with Phillips sharing early images on Instagram and Lawrence Sher serving as cinematographer. Sher cited Francis Ford Coppola's One from the Heart (1982) as a stylistic inspiration. Exterior shots were captured in both New York City and Los Angeles by March 2023. Scenes featuring Lady Gaga with extras outside the New York County Courthouse sparked confusion among bystanders who mistakenly linked the filming to a political event. The Arkham Asylum sequences were filmed at the deserted Essex County Isolation Hospital in Belleville, New Jersey. Additional filming took place at the "Joker Stairs" located in the Bronx during April 2023. Production concluded on April 5, 2023. The entire movie was recorded using IMAX-certified digital cameras, including the Arri Alexa 65, previously utilized on Joker.

In contrast to conventional musicals, Phoenix and Gaga performed their musical numbers live with off-screen piano accompaniment. This method necessitated intricate editing to align takes perfectly—a process Phillips described as a “nightmare.”

Paparazzi captured images of a scene where Gaga’s character shares a kiss with a woman during Arthur’s trial; this moment was improvised but ultimately removed by Phillips because it required dialogue that disrupted the scene's intended atmosphere.

Post-production

In December 2023, James Gunn revealed he had reviewed footage and offered feedback but did not engage further with the project. Subsequent reports indicated that notes from Gunn and Peter Safran were dismissed by Todd Phillips, who preferred to distance himself from DC during production. Phillips exercised considerable creative control over the final edit, bypassing oversight from the brand and distancing himself despite Gunn’s support. Accordingly, no DC executives were involved, as the film received approval amid studio reorganization—evidenced by the absence of the DC Studios logo in the opening credits. Gunn explained this omission by stating that the filmmakers considered it more a Warner Bros. film than a DC Studios production. To prevent leaks, test screenings were skipped, diverging from practices common in spoiler-sensitive franchises like MCU’s Avengers: Endgame.

The budget surpassed that of its predecessor’s approximate $60 million cost; some estimates reached up to $200 million—though Phillips denied such high figures. The increased budget resulted partly from Phillips’ preference for expensive location shoots in downtown Los Angeles rather than more economical London studios (which could have saved $12 million), along with combined fees totaling $52 million for Phillips, Joaquin Phoenix, and Lady Gaga. While Alcon Entertainment sought co-financing support from FedEx founder Frederick W. Smith, Warner Bros., led by David Zaslav, selected Domain Entertainment as sole co-financier. Visual effects were handled by Industrial Light & Magic.

Music

For Joker: Folie à Deux, Hildur Guðnadóttir reprised her role as composer, crafting the film’s score. The soundtrack includes sixteen tracks, predominantly cover versions, alongside a single original piece performed by Lady Gaga. Gaga also launched a companion album titled Harlequin on September 27, 2024.

Marketing

The initial teaser trailer was unveiled on April 10, 2024, with director Todd Phillips presenting it at the 2024 CinemaCon. It features a rendition of "What the World Needs Now Is Love" originally by Sammy Davis Jr. and Tom Jones. Industry analysts observed that Warner Bros. adopted a measured marketing strategy for this musical film, mirroring approaches used in Wonka (2023) and Mean Girls (2024). Reviewers characterized the trailer as "dark and gritty," spotlighting Lady Gaga’s depiction of Harley Quinn as Joker’s "demented muse," while emphasizing their intense, chaotic romance. Within 24 hours, the trailer amassed 167 million views, marking Warner Bros.’ most significant trailer debut since Barbie (2023).

Phillips had initially intended to produce a trailer for an in-universe TV movie featuring Ethan Chase, the character portrayed by Justin Theroux in the original film; however, this project was canceled due to scheduling limitations.

Release

The world premiere of Joker: Folie à Deux took place at the 81st Venice International Film Festival on September 4, 2024. Although Warner Bros. was initially reluctant to showcase the film at Venice—similar to their hesitation with Joker in 2019—director Phillips advocated strongly for it, leading to the studio’s eventual endorsement. The U.S. theatrical release followed on October 4, 2024, distributed by Warner Bros. Pictures. Internationally, the film debuted two days earlier on October 2, 2024, as revealed during Warner Bros.' 2024 CineEurope event.

Capitalizing on the success of premium format releases like Oppenheimer (2023) and Dune: Part Two (2024), Joker: Folie à Deux was made available in the IMAX 15-perforation 70 mm film format at eleven select locations worldwide, aiming to boost both its market presence and box office revenue.

Home media

The digital release of Joker: Folie à Deux occurred on October 29, 2024. It became available for streaming on Max starting December 13 and was subsequently issued on Ultra HD Blu-ray, DVD, and Blu-ray formats by Warner Bros. Home Entertainment on December 17.

Box office

Globally, Joker: Folie à Deux generated $58.3 million across the U.S. and Canada and $149.2 million from international markets, totaling $207.5 million worldwide. According to Variety, the break-even threshold ranged from $375 million to $450 million, suggesting theatrical losses between $125 million and $200 million. In April 2025, Deadline Hollywood reported a net loss of approximately $144.25 million after accounting for all costs and revenues.

Five weeks before release, Boxoffice Pro forecasted an opening domestic weekend exceeding $100 million—surpassing its predecessor’s $96.2 million debut—even amid mixed critical reception. However, estimates declined to $70 million two weeks prior and further dropped to between $55 million and $60 million by release week. After earning $20 million on its first day (including $7 million from previews), projections fell to around $45 million. Ultimately, the film opened with $37.7 million across 4,102 theaters, securing first place at the box office but falling short of expectations.

Several media outlets drew unfavorable comparisons between its opening performance and recent high-profile box office failures such as The Marvels (2023) and Madame Web (2024). Deadline Hollywood attributed the underwhelming turnout largely to audience resistance toward the film’s musical elements.

Jeff Goldstein, Warner Bros.’ president of domestic distribution, pointed out that the film’s more profound exploration of mental health issues may have limited its appeal among core viewers. Financial analyst Dan Ives described it as a "black eye" for Warner Bros., arriving at a time when a commercial success was anticipated. Variety also linked part of the underperformance to Bradley Cooper’s absence following his split from Phillips’ producing partnership in 2021.

Following The Batman (2022), this installment marks the sixth live-action DC movie to underachieve financially, joining titles such as Black Adam (2022) and Aquaman and the Lost Kingdom (2023). A source within Warner Bros. revealed increased pressure on Superman (2025) to restore profitability for the franchise. In its second weekend, Joker: Folie à Deux experienced an 81% revenue drop to $7 million—a record decline for a DC film—and was overtaken by the indie horror release Terrifier 3, which claimed the top box office position.

By its third weekend, it had lost screening availability in 1,245 theaters and earned just $2.2 million—a 69% decrease—placing sixth overall.

Insiders close to production described the launch as "a complete audience rejection" and characterized it as "an expensive art-house project" primarily designed around Phoenix’s performance. Director Phillips reportedly withdrew from public engagement during opening weekend. Industry professionals acknowledged that his disregard for fan expectations contributed significantly to both the film’s failure and damage to the DC brand image. Box office analyst Jeff Bock likened its commercial collapse to a "Speed 2 level disaster," citing excessive spending by Warner Bros. amid minimal audience interest caused by creative decisions misaligned with fan preferences.

Critical response

Upon its release, Folie à Deux received predominantly mixed to negative reviews from critics. Audience feedback collected by CinemaScore assigned the movie a "D" grade on their A+ to F scale, marking the lowest rating ever recorded for a comic book adaptation. Meanwhile, PostTrak indicated an overall positive response of just 40%, with only 24% of viewers strongly endorsing the film.

Pete Hammond of Deadline Hollywood lauded the movie as "brilliant," particularly commending its high production standards, including Lawrence Sher’s cinematography, Mark Friedberg’s production design, and Arianna Phillips’ costume work. William Bibbiani from TheWrap described it as "the most compelling portrayal of Arthur Fleck," emphasizing its boldness and authenticity. Geoffrey Macnab at The Independent characterized the film as "profoundly unsettling." Robbie Collin of The Daily Telegraph awarded four stars, praising the musical sequences and Todd Phillips for preserving the franchise's nihilistic tone, although he remarked that Lady Gaga was "captivating yet underutilized." Rafa Sales Ross from The Playlist appreciated Joaquin Phoenix’s more restrained acting but shared concerns about Gaga’s limited screen time.

Peter Bradshaw of The Guardian gave the film a three-star rating, highlighting a strong opening and supporting performances but criticizing its repetitive pacing and Phoenix’s one-dimensional portrayal; he noted Gaga delivered "a sly and manipulative menace." Jack Coyle of KQED-FM found the film "thoughtful yet tiresomely anchored in the past." Luke Goodsell from ABC News (Australia) dismissed it as a "quasi-musical courtroom drama" lacking narrative progression and possessing an unappealing tone for general audiences.

According to USA Today, negative critiques focused on uninspired musical numbers and Gaga’s underuse. Manohla Dargis of The New York Times labeled it a "dreary and unpleasant experience" with a minimal plot and forced eccentricity. David Ehrlich of IndieWire described the sequel as antagonistic toward audience expectations, featuring discordant elements. Spencer Kornhaber from The Atlantic criticized its failure to offer meaningful insight into fame or entertainment value. Justin Clark of Slant Magazine rated it one out of four stars, citing lackluster direction and pervasive nihilism. Kyle Smith from The Wall Street Journal compared the decline in quality to that seen between entries in The Hangover series. David Rooney at The Hollywood Reporter found the storyline thin and uninspired, observing that the film reduces the Joker character to merely a product of trauma. Owen Gleiberman of Variety faulted the film for an overly cautious narrative and insufficient utilization of Gaga’s talents.

Themes and analysis

Critics have noted that the film operates as a piece of metafiction intentionally challenging the expectations of fans from the original. Rather than delivering on the anticipation that Arthur would fully adopt his Joker identity and become Batman’s nemesis, the sequel confronts those who revered the character. Avoiding fan service, it presents a self-referential story that reflects on its own creation. The film’s discordant musical numbers sharply contrast with audience hopes, with Joker himself remarking, "I don't think we're giving the people what they want." These songs function more superficially, leaving viewers disappointed when they do not further the storyline. By the conclusion, Arthur implores Lee to cease singing—a feeling echoed by the audience. Lee Quinzel represents wealthy fans fixated on Joker’s chaos and allure, who become disillusioned when Arthur does not embody that image.

The closing sequence, which depicts Arthur’s criminal acts during a trial that portrays him as sorrowful and pitiable, is an intentional reversal by Phillips aimed at undermining those who saw Arthur as a hero in the first film. The courtroom scenes revisit prior events in a manner designed to distance viewers. Arthur’s rejection of his Joker persona before being killed by a younger prisoner—implied to be the "true" Joker—is interpreted as a conscious refusal to satisfy fans’ hopes for a heroic or empathetic tale. This metafictional technique mirrors Arthur’s characterization: society values him solely as Joker and dismisses him once he abandons that role; similarly, the audience turns away from Arthur. As a result, many interpret the film as an expensive "punch line" directed at followers of the original, with Todd Phillips himself perceived as "the Joker" for upending both fan and studio expectations.

Director Quentin Tarantino, an admirer of the film, acknowledged its influence from his script for Natural Born Killers (1994). In a conversation with Bret Easton Ellis, he commended its direction and described it as "the fever dream of Mickey Knox." Tarantino also drew comparisons with Peter Ibbetson (1935), adapted from George du Maurier's novel, noting the plot bears strong resemblance.

Accolades

Award	Date of ceremony	Category	Recipient(s)	Result
Astra Midseason Movie Awards	July 3, 2024	Most Anticipated Movie for the 2nd Half of 2024	Joker: Folie à Deux	Template:Won
Costume Designers Guild Awards	February 6, 2025	Excellence in Costume Illustration	Eduardo Lucero	Template:Nom
Critics' Choice Super Awards	August 7, 2025	Best Actress in a Superhero Movie	Lady Gaga	Template:Nom
Golden Raspberry Awards	February 28, 2025	Worst Picture	Todd Phillips, Emma Tillinger Koskoff, and Joseph Garner	Template:Nom
		Worst Director	Todd Phillips	Template:Nom
		Worst Actor	Joaquin Phoenix	Template:Nom
		Worst Actress	Lady Gaga	Template:Nom
		Worst Screenplay	Scott Silver and Todd Phillips	Template:Nom
		Worst Screen Combo	Joaquin Phoenix and Lady Gaga	Template:Won
		Worst Remake, Rip-off or Sequel	Joker: Folie à Deux	Template:Won
Golden Trailer Awards	June 29, 2023	Best Graphics in a TV Spot (for a Feature Film)	"Date Announce" (Inside Job)	Template:Nom
	May 30, 2024	Best Music	"Love" (Major Major)	Template:Nom
		Best Thriller		Template:Nom
March 20, 2024	Next Big Thing	Joker: Folie à Deux	Template:Nom
March 11, 2025	Film Performance	Lady Gaga	Template:Runner-up
September 7, 2024	Golden Lion	Todd Phillips	Template:Nom
	Premio Soundtrack Stars Award	Hildur Guðnadóttir	Template:Won