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.

Makes us feel as if we were there, living the adventures, misadventures, tragedies and complications within this wonderful invention that is television, only to, with its ending, condemn the world we have agreed to live in today. [Full review in Spanish]

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.