I Saw the TV Glow

I Saw the TV Glow is a confident, original film, birthed and crafted in a way that feels wholly different to anything you’ve seen before – certainly not in mainstream Hollywood cinema.

The ending is the rawest and best part of this ­unconventional movie.

The power of I Saw the TV Glow lies precisely in its ambiguity, which may go deeper than was intended.

Many moments unnerve, and a few may even alienate, but the sum is grandly and potently itself.

With its shapeshifting disquiet, I Saw the TV Glow is too languidly weird, too unmoored from genre conventions to be neatly categorised. But there’s not a frame in Jane Schoenbrun’s suffocating second feature that isn’t drenched in dread and unease.

The mythology, which becomes increasingly disturbing, is meticulous. But the same material proves a rich seam, a tale of roads not taken, a story that will speak to anyone who experienced an awkward pubescence or the jouissance of pop-culture enthusiasms.

The nineties aesthetic, with its fluorescent and violet lights, takes on a dreamlike and surreal quality that inevitably recalls the universe of David Lynch. [Full review in Spanish]

An unnerving and unsettling horror / fantasy that offers a meditation on the struggles of queer identity and adolescence.

This is a fantastic-looking movie, with visual fireworks and nightmarish visions. I was all in on this movie up until the end, when I was disappointed by the conclusion.

If you’re a fan of offbeat cinema, weird storytelling, or simply want to bask in the glow of something both retro and forward-thinking, I Saw the TV Glow is absolutely worth seeking out. It’s messy, yet mesmerizing, but, above all, human.