REVIEW: ‘The People’s Joker’ Is Essential Outsider Art

Media is a lens through which we see ourselves. Characters that others create can become touchstones for identity. To take it a step further, characters are warped or repurposed for self-expression. That’s exactly what filmmaker Vera Drew does in her debut feature The People’s Joker, an unofficial parody of DC Comics characters that uses a spoof version of well-known IP to tell a trans coming-of-age story loosely based around her own experiences. Aiming high above its low, crowdsourced budget, The People’s Joker makes up for the technical lack of polish with a huge heart, constant inventiveness, and a style all of its own.

This one-of-a-kind film initially follows a young child (Griffin Kramer) growing up in Smallville with big dreams of working in comedy. They idolize uncouth comedic talent Ra’s Al Ghul (David Liebe Hart), one of the stars of Saturday Night Live stand-in “UCB Live.” However, this child’s questions about their own gender identity alarm their mother (Lynn Downey), resulting in a prescription for the “happy” drug Smilex.

As the child grows up (now played by Vera Drew), they venture into the ranks of Gotham City. They pursue laughs with fellow up-and-comer Penguin (Nathan Faustyn) in Gotham’s grueling comedy scene. There, they fall head and over heels for a comedian and trans man known as Jason Todd/Mr. J (Kane Distler). Mr. J helps them transition into their new identity: Joker the Harlequin.

There’s never been a movie that looks like The People’s Joker. Drawing on various forms of mixed media, the budget limitations of the budget are readily apparent. The majority of the characters appear to be shot on a green screen. Some of the characters are entirely CGI. Heck, so are the majority of the backgrounds and exteriors. Furthermore, sometimes Vera Drew will change the format of the project entirely, such as going fully 2D animated to portray an intimate moment between Joker and Mr. J.

This ramshackle nature is a feature, not a bug. It’s a completely endearing approach, giving the film the pop-art feel of a colorful comic book. More than that, it’s inspiring to see a filmmaker see her limitations and then say “screw it, let’s still go as big as possible!” Vera Drew is a skilled editor with plenty of comedy experience that ties her vision together seamlessly. And if we see the stitches, that’s just part of the appeal.

The People’s Joker sizzles with a clarity of purpose. Writer Vera Drew and Bri LeRose skewer the archaic dynamics of the comedy world with a ragtag team of rejects at its core. All female comedians are designated “harlequin” in relation to the more respected “jokers.” Moreover, the use of parody versions of well-known IP plays out very cleverly in lieu of a Batman story. The Batman (Phil Braun) is a cruel abuser. Mr. J twists Jared Leto’s bizarre, edgelord version of The Joker into an avatar of insecurity and pain. The character plays into the history of The Joker and Harley Quinn, presenting a measured and very realistic version of what a toxic relationship looks like.

Going even further, classic characters like The Penguin, The Riddler (Trevor Drinkwater), and Poison Ivy (Ruin Carroll) are lovable outsiders. The ACE Chemicals plant turns into an estrogen factory that transforms The Joker. And, of course, imagery from 2019’s Joker comes to represent self-actualization. Vera Drew’s Joker is a joyous character, liberated from the baggage of her previous life. She’s gender euphoria personified. Although maybe that’s over-simplifying it, as The People’s Joker still goes into the pain and complication of living one’s truth.

Really, what works the most about The People’s Joker is how personal it feels. Vera Drew speaks openly and honestly about a trans experience. The relationship between Joker and her mother doesn’t go down easy. It’s complicated and painful, such as a scene where Joker/Vera realizes she doesn’t have any good memories with her mother. Or take the whole relationship with Mr. J, whose help in Joker’s transition becomes a bargaining chip to hold over her head. What The People’s Joker underscores is the importance of being oneself. It’s a messy process coming to terms with who you are, but it’s absolutely essential.

The difficult road to releasing The People’s Joker suggests that DC Comics, or specifically Warner Bros. Discovery, is unhappy with the skewering of their IP. That’s a shame. Popular characters can be tools for great artists to tell essential stories. That’s what Vera Drew does here. The People’s Joker is bonafide outsider art—a remixing of classic mythology to tell a compelling trans coming-of-age tale that will be lauded for years to come.

The People’s Joker is playing now in select theaters.