Comedies about American teenagers are not all created equal, but they are certainly created similar. Timeless classics such as Clueless and poorly-aging hits like Easy A all share the same basic ingredients—outcasts, jocks, house parties, sex jokes, and One Last Night (or Day, or Week) to turn the tables and fight the powers that be. Yes, I just described genre as a whole—welcome to Much Ado’s Intro to Film, please have your books ready by Monday.
But like its title suggests, Booksmart already knows this history, and it won’t let that knowledge go to waste. By carefully choosing which tropes to play with and which to forgo, first-time feature director Olivia Wilde has accomplished the impossible: making the high school comedy fresh again. Funny, modern, and uniquely kind, Booksmart is a party film that, while not entirely free of formula, marks a new generation of movies about kids figuring out who they are and who they want to be—with the help of some drugs and a good time. Along with its inventive direction, pitch-perfect performances from Beanie Feldstein and Kaitlyn Dever cement Booksmart as the movie of the summer, and cement the leads as comedy stars in the making.
In Latin America, there is no event more important for young girls than the quinceañera. Families will save up every extra penny to make sure that the celebration is a lavish affair, welcoming the girl’s progression into adulthood with a whole lot of pomp and circumstance. For Miriam (Dulce Esther Rodríguez Castillo), however, her 15th birthday is loaded with dread, as she has a secret that she doesn’t want the rest of her family to know about.
She has a boyfriend named Jean-Louis, who she only knows from chatting online. One day, she goes to meet him at a natural history museum, but upon seeing his face, something holds her back. She doesn’t talk to him, and runs away, explaining to her mom that he didn’t turn up. At first, this seems like natural shyness, but it slowly becomes clear that it’s because he’s black. The resulting film is a piercing tale that functioned both as a well-worked character drama and a seething critique of a racist society.
This piece is written by our guest writer Redmond Bacon.
Coming of age can be a messy process. Caught in a limbo between the dull present and an unknowable future, teenagers have to navigate both their sense of self and who they would like to become. For Léo (Karelle Tremblay), only a month away from finishing school, the burden of expectation becomes too much. Not only does she tell her mother’s friends that she doesn’t know what she wants to do next, but she actually runs away from her own birthday dinner. Reminiscent of when Lady Bird, annoyed at her mother, simply jumps out of the car, this is a clear signal that this girl is going to live her life on her own terms, much to the consternation of those around her.