Tom is a freelance film reviewer, voice actor, and tutor, currently gaining experience in the film festival circuit. Check out more of his reviews at @saertom.
Tom says...
Queer childhood nostalgia and the depressed fantasies of suburbia swirl in an emotional vortex within Jane Schoenbrun's bizarre, stunning, devastating sophomore feature.
Justice Smith excels as Owen, with a deadpan delivery smothering inner burdens. His navigation of constraining, unsettling environments, like a school corridor with absurdly minimalist macho-phrased posters, or the soul-crushing Fun Centre, makes this feel at points like a dark, fragmented Barbie. Maddy (Bridget Lundy-Paine) anchors the emotional intensity, with a phenomenal monologue at the film's interpersonal climax. Maddy's obsession with The Pink Opaque's cancellation lends a voice of transfixed despair to what is hidden behind Owen's wide-eyed, disconnected exterior.
Owen's genderqueer dance of desire, romance and fractured reality is perforated with layers of submerged tragic reflection by Alex G's strong score. At points, the music choices conjure a sharper dissonance. Even as a metal fan, the screams of an underground vocalist in one scene felt uncomfortably visceral.
There are lighter '90s moments here — a montage of VHS recording titles, and the fine-tuned schlock of the film's fictional show, are highlights. But Schoenbrun is more ambitious than that, successfully crafting the kind of sense experience crucial for a true 'throwback' film. I Saw the TV Glow captivates as a haunting examination of suffering and doomed promises of escape.
In all its darkness, this film signals a bright future for trans stories. Schoenbrun is one to watch, expertly guiding us into the muddied cinematic waters of memory, time, identity, and searing emotion. Be prepared for a crushing ending.
Eva, 23
Eva is a London-based writer who loves to discover new voices in cinema at film festivals. You can find her on Instagram @eva_in.the.dark.
Eva says...
We can all think back to a TV show that we once followed obsessively, fanatically, religiously, almost to the point of concern. Maybe, for a little while, the characters even started to feel real…
In I Saw the TV Glow, Jane Schoenbrun plays on this relatable idea to universalise the experience of gender dysphoria through main character Owen (Justice Smith). The result is an emotive and glossy film, doused in dreamlike pinks and purples, as trippy and apocalyptic as it is melancholic. Both nailing '90s nostalgia and remaining sleek and modern, I Saw the TV Glow makes for a unique and compelling watch.
Much like our fractured memories of kitschy childhood TV shows, the film is less about intricacies of plot than it is about the feelings it evokes. We know very little about Owen; his world feels flimsy and two-dimensional. However, we are isolated in confusion with him as his reality becomes a nightmarish neon soup.
This may tempt us to dub the film as half-baked or too conceptual, but doing so would miss what Schoenbrun has achieved. With Owen's repression of his true identity at the heart of the story, he is forced into a liminal state of non-being, which is conveyed effectively through Schoenbrun's hollow world. Though viewers will have varying interpretations of the ending, ranging from very bleak to hopeful, I Saw the TV Glow will stay with you, even if only for the distinctive atmosphere it creates.
Jordan, 23
I am a Film Studies graduate that loves going to film festivals and watching all the latest cinema releases.
Jordan says…
I Saw the TV Glow is an innovative and thrilling movie that explores gender dysphoria and our collective obsession with the TV shows that we grew up on. This film is a powerful coming-of-age story unlike many that I have seen before. Director Jane Schoenbrun brings a distinct visual style to their exploration of these themes. The lighting, cinematography and production design provide a neon glow that is visually appealing, whilst revealing further details about its characters. Schoenbrun's style recalls the likes of David Lynch, with a musical sequence bringing back memories of the Silencio sequence in Mulholland Drive.
Schoenbrun creates many memorable sequences, including recreating the style of 90s TV shows (e.g. Buffy the Vampire Slayer) for The Pink Opaque, the show that Owen (Justice Smith) and Maddy (Brigette Lundy-Paine) fall in love with. Smith and Lundy-Paine give excellent performances in the lead roles, embracing their characters' identities and bringing a strong dynamic between their friendship. The rest of the ensemble is great, with a heartfelt turn from Danielle Deadwyler as the protagonist's mother. The movie is well-paced and goes in unexpected directions, pushing the boundaries of audience expectations.
Experiencing this with an audience at Sundance Film Festival: London was terrific. From Schoenbrun's video introduction setting the tone, to the audience collectively jumping as the 'monster of the week' appeared on-screen, this was great to watch in a packed room. As the credits rolled, I could tell this is a powerful film that will stick with me for a long time.
