this review contains spoilers. A Co-Written Article by Mel and Rue.
Sometimes life is harder than diving deep into a show one can relate to. Caring about a fictional character and their surroundings, their friends, their lives. Studying the monster of the week instead of facing real lives challenges. But what if one represses something so essential to oneself that the escape one looks for on TV feels more and more intense. When life itself stops making sense and ultimately becomes a dull parallel world compared to the fictional universe that can bring so much joy and sense to a life.
“I Saw the TV Glow” had its international premiere at the 74th. Berlin Film Festival in the section “Panorama”. The second film by director Jane Schoenbrun after their successful debut “We’re all Going to the Worlds fair”, which premiered at Sundance in 2021.
The 90s. Owen (Justice Smith) doesn’t have many friends but once he meets Maddy (Brigette Lundy-Paine) at school he gets drawn into the world of the Pink Opaque, a melodramatic fantasy show that Maddy is obsessed with. The two friends start to meet up more regularly to watch the Pink Opaque together. Over the years they become more anymore obsessed with it until the line between reality and fiction slowly starts to fade.
I Saw the TV Glow” is a mesmerizing exploration of identity and connection, particularly resonant for queer audiences. Director Jane Schoenbrun skillfully weaves a tapestry of symbolism that speaks volumes to the experience of grappling with one’s identity in a world where expression is often stifled.
It felt like the film was giving an homage to classic WB and CW shows like “Buffy the Vampire Slayer,” “Charmed,” or “Supernatural.” It’s tapping into the nostalgic glow of those beloved series while offering a fresh perspective. The story revolves around the fictional Show “The Pink Opaque,” what becomes a sanctuary for Maddy and Owen. As much that they question whether they are part of the show.
Seeing scenes from that fictional show that pulled inspiration from something iconic out of my own upbringing felt deeply nostalgic. Growing up trans* while not having the words for it let to huge fascination with fictional worlds.
Schoenbrun, who identifies as non-binary, effectively captures the sense of finding solace and kinship in the fantastic fictional worlds of television, especially for those of us who do not fit into a mostly heteronormative world.
The film’s visual language, by cinematographer Eric Yue, is a striking blend of dreamlike imagery and stark reality, reminiscent of the New Queer Cinema style. From the vibrant pink ghosts that symbolize Maddy and Owen’s bond to the eerie suburban landscapes, every frame is imbued with a sense of longing and displacement.
The film is a testament to the power of storytelling. Jane Schoenbrun emerges as a bold new voice in indie cinema, by tackling personal themes of identity and belonging with sensitivity and grace. For anyone who has ever felt unseen or marginalized, this film is a beacon of hope and validation.
-Rue
Cut here: Mel’s take on the film follows. We thought it would be interesting to share our thoughts separately, given our kind of similar but also individual journeys of growing up queer. We also connected through our love for the same television show. Let’s see if the movie resonated with us in different ways.
“I Saw the TV Glow,” is a film that introduces a completely new style to the world of cinema. The narrative moves at a remarkably quick pace, but it doesn’t leave you behind even once. It has the ability to be ambiguous without it being confusing or making your head spin.
At its core, the film delves into themes of queerness and gender identity in a way that challenges conventional approaches. It’s an incredibly relatable story, that addresses the universal theme of seeking refuge from reality in the realm of television – something that is particularly resonant among not only in our generation, but our generation of queer people, where the only place you’d find any kind of representation was in stories told in media, mostly told in queer codes or ambiguity back then, which is also something the film touches on at times.
Owen’s journey into the maddening and anxious journey of self-discovery is something that hit really close to home. The film doesn’t shy away from the messiness of figuring out your sexuality or gender identity and remains authentic in portraying the uncertainty and impatience that comes with it. Despite the dark spiral Owen finds himself at the ending of the film, Schoenbrun manages to weave in a hopeful tune as a poignant sidewalk inscription reads, “It’s not too late,” a moment that brought tears to my eyes.
Beyond its exploration of sexuality and gender, the movie also beautifully captures the loneliness and insecurities of growing up – the idea of finding solace and safe spaces within the characters of a TV show is a deeply personal and individual journey that not everyone might fully understand, but that’s what makes this film so unique and sets it apart from other stories.
One incredible example of this relatability is the scene where Owen revisits the show, realizing it no longer holds the magic it once did. This loss feels deep and even embarrassing. It is something I have discovered myself at times, sparking feelings of confusion and melancholy that Schoenbrun articulates in an authentic manner.
“I Saw the TV Glow” stands out as a relatable story, not only to a niche audience but to anyone who has grappled with these emotions and experiences in their life.
-Mel