I SAW THE TV GLOW, US, 2024. Starring Justice Smith, Brigette Lundy-Paine, Ian Foreman, Helena Howard, Lindsey Jordan, Danielle Deadwyler, Fred Durst. Directed by Jane Schoenbrun. 100 minutes. Rated M (Supernatural themes, violence, coarse language and sex scenes).
Certainly a provocative title. And, alluring for those who love television and are caught up in its worlds. It has been billed as a horror film but that sets up expectations which may not be fulfilled and distracts an audience from trying to discern what kind of film it actually is.
The first comment is that it has divided opinions, right down the middle, many declaring it is one of the most boring films they have ever seen, finding it incomprehensible, many, on the other hand, praising its originality, its insight into youth and absorption into fantasy with consequences on real life.
Another approach would be that young audiences who are on its wavelength, identify with the characters, not only their response to the glow of television and television series, but in their personal issues, especially of family and parental experiences, loneliness and isolation, identity, gender and sexual identity. Older audiences may find themselves in a state of observing with interest, rather than identifying with the characters and the action.
The film was the work of writer-director, Schoenbrun, who has given a number of interviews about the film and its creation, its relationship to the director’s own life, awareness and decisions about gender identity and transitions.
The story opens in 1996. Two high schoolers, Maddy (Lundy-Paine), morose but strong minded, lives with an abusive father and Owen (Smith who tells the story and is the focal character) who lives with his parents. What brings them together is an interest in a television series, The Pink Opaque (with reference to the series, Buffy, the Vampire Slayer). These two loners meet and discuss their experiences and lives. Maddy is attracted to girls, Owen is unsure, attracted to the television series. The possibility arises that they could run away from home, which Maddy does but Owen stays.
Two time-jumps occur. Maddy’s return after eight years, absorbed in the series, partly living the fantasy, the audience seeing some of the fantasy characters. Owen, on the other hand, has a humdrum life. He works in the theatre which closes, and he has to move to a fun fair. Then a gap of 20 years. Owen, visibly older, is trapped in the memories, and a literal scream of desperation. Which means the director offers a story and treatment and then it is over to us make of it what we will, what we can.
Sony
Released 31 August