As a fan who has spent countless hours immersed in the realms of teenage angst and supernatural mysteries, I can confidently say that “I Saw the TV Glow” is a cinematic gem that resonates deeply with my own experiences. Jane Schoenbrun’s directorial prowess shines through once again, creating a narrative that beautifully explores themes of isolation, connection, and transness in a way that feels as intimate as a whispered secret shared between friends.
Originally published on January 21, 2024, this review is now re-shared as I Saw the TV Glow is now available for streaming on Max.
The characters from “I Saw the TV Glow” are deeply engrossed in a show titled “The Pink Opaque,” which revolves around two teenagers adorned with glowing spectral tattoos on their necks. They met at summer camp and combat supernatural menaces using their psychic bond. The series bears resemblances to the revival of “The Tomorrow People” as well as “Twin Peaks,” yet it’s primarily akin to “Buffy the Vampire Slayer,” with its eerie-kitschy weekly monsters and the font used in the credits. The film’s leads, Owen (Justice Smith) and Maddy (Brigette Lundy-Paine), become deeply invested in the series, a refuge for outcasts yearning for a more accepting world. Maddy identifies as goth and lesbian, while Owen, two years younger, grapples with emotions he struggles to express, even to himself. When they interact off-screen, they maintain an awkward distance on the bleachers, barely able to meet each other’s gaze. However, “The Pink Opaque” serves as a common ground and a subtle form of emotional connection. Maddy weeps uncontrollably during her favorite character’s scenes. Owen watches her in return. They never discuss their feelings about it afterward.
In simple terms, the movie “I Saw the TV Glow” is a new film directed by Jane Schoenbrun, who previously made the eerie and somewhat obscure “We’re All Going to the World’s Fair” in 2021. This new film, which premiered at Sundance and will be distributed by A24, focuses on a lonely teenage girl named Maddy who creates videos for an online horror challenge, and an older man, Owen, who contacts her claiming concern for her welfare. The movie features recognizable actors, appearances from Phoebe Bridgers and Amber Benson from “Buffy”, and a suburban-gothic style that occasionally shifts to a convincing ’90s TV series reproduction.
In the movie, Owen, who resides with a caring yet ailing mother (Danielle Deadwyler) and a strict, rule-abiding father portrayed by Fred Durst of Limp Bizkit, embarks on a journey towards an impending event he can’t accept. While Owen is shy, Maddy is bold, and as their bond strengthens through borrowed VHS tapes of TV shows Owen isn’t permitted to watch live, her determination to escape becomes increasingly apparent. She believes the community they inhabit will ultimately claim her life. She yearns to depart, and she hopes Owen will join her, a prospect that fills him with fear. The program they both adore appears formless, peculiar, and occasionally terrifying for something broadcast on the “Young Adult Network,” but as the story unfolds, it’s the ordinary routine of Owen’s daily life (the school they attend is named “Void High”) that seems more like a dream, with Owen addressing the camera to discuss time passing by as if everything that has happened is a distant memory he’s recalling from some unseen place. At one point, he ponders, “What if I was someone else – someone beautiful and powerful?” However, whether he will transform into such a person remains uncertain.
The film “I Saw the TV Glow” skillfully creates a captivating atmosphere without being welcoming, and provides a sense of emotional closeness without requiring one to fully grasp the emotions portrayed. Its intricate web of pop-culture references serves as a powerful trigger for memories, such as Owen’s recollections of gym class under a parachute or riding in the car at night gazing up at his mom in the driver’s seat. I use this comment primarily as a praise when I say that the film feels like it was created without consideration for an audience, its narrative so deeply personal that it’s akin to a Pointillist piece where one can never step back to fully appreciate it in entirety. Like the indirect conversations between Owen and Maddy, there is a certain ambiguity to it that might be annoying but never seems calculated or intentionally confusing. The allure of Schoenbrun’s work lies in the sense that they are figuring things out as they create their films, making it all the more compelling to watch.
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2024-09-20 18:54