An unusual film, both intoxicating and frustrating. The storyline turns on Lila, a teenage virgin who is both jealous of and intrigued by the sexual experience of her best friend. As a result, Lila inserts herself into the life of a male college student who, as far as she can see, will sleep with anyone. This is the first feature by director Eliza Hittman, and it is elevated by her ability to conjure atmosphere via images. She is clearly confident and in control behind the camera. The film is directed in such a way as to invite the use of the terms "tone poem" or "mood poem." Soft-focus closeups result in an intense, almost uncomfortable intimacy with the characters. The locales—the crowded beach, small yards adorned with clotheslines—and the subdued, yet diverse color palette are evocative of summertime in the city or rather a melancholy, nostalgic idea of summertime in the city.

In regard to content, to the storyline and its cast of characters, the ultra-slight 80-minute feature is an end-of-innocence story designed for maximum discomfort. Beyond a charming, pint-sized neighbor who functions as Lila's confidant and her confusing father (is he neglectful or just distracted?), men here are portrayed as one-note bros and thugs. Uncaring studs who squeeze and manhandle and leer. The camera lingers on their hard, tattooed bodies, as well as their horn-dog stares and cruel laughs. The specter of potential rape rears its unpleasant head more than once as Lila, played in a natural, but limited performance by doe-eyed newcomer Gina Piersanti, again and again finds herself encircled by them, very much in over her head. (She is berated at one point for shifting into domestic gear, cleaning up an apartment overflowing with red Solo cups, but then, of course, allowed to continue.) I am sure the director's thesis involves the perils adolescent females face as they discover and explore their sexual urges, and the film undoubtedly conveys such perils with disturbing present-tense urgency, but I believe it would be improved by more time, space, and imagination. Then, for example, the characters (male and female) might become three-dimensional beings rather than cultural archetypes. There are more satisfying and substantial films covering similar ground, including Catherine Breillat's Fat Girl, Cate Shortland's Somersault, and Andrea Arnold's Fish Tank.

B-

I pretty much agree with what you said David. An interesting but slight film. A little too slight.

7/10 (B-)