The term “cinema for our time” is a loose, vague notion thrown around liberally and all too often. But what does it mean, and how can we recognize it? To me, the phrase represents the singular and often ambitious projects that propel the industry forward, typically translating an element of cultural, social or political discourse into an earnest piece of art. These stories are inherently unconventional because they reimagine conventions, promising aspiring filmmakers a more amenable and creative industry.
In 2021, non-binary filmmaker Jane Schoenbrun experimented with the modern cinematic scope, weaving their personal experiences with identity and technology into the breakout indie horror, “We’re All Going to the World’s Fair.” With well-earned money to spend and a debut feature under their belt, Schoenbrun returns to experimental horror in collaboration with indie stalwart A24.
“I Saw the TV Glow” is decisively of our time — a visually arresting, sonically luminous and entrancing trip into another dimension. An improvement in every fashion over their debut, Schoenbrun’s sophomore turn is a sinister, melancholy and unapologetic adaptation of the trans experience.
When reserved teenager Owen (Ian Foreman/Justice Smith) encounters mysterious classmate Maddy (Brigette Lundy-Paine), he is introduced to a curious late-night show titled “The Pink Opaque.” In the pale glow of his newfound television obsession, Owen’s grasp of reality begins to warp.
The film is palpably eerie, both visually and narratively. Schoenburn establishes an atmosphere distinctly disconnected from reality. From the awkward performances to the audial layout, every beat clashes with normality. It draws you near and seduces you until your eyes become super glued to its enchanting optical ambiance. Though it contains horrific body horror and deeply distressing sequences, it still feels comforting, soothing and nostalgic.
Schoenbrun’s trans allegory is confidently unsubtle yet profoundly layered. “The Pink Opaque” is a distant, unattainable realm but provides Owen a freeing outlet for expression, enlivening his obscured identity. The film tackles the suffocating psychological and physical effects of dysphoria and repression so viscerally and honestly. I can’t commend Schoenbrun enough for sharing such a brave confrontation with queerness at its most beautiful, complex and painful.
“I Saw the TV Glow” also explores art’s powerful role in shaping one’s identity and even controlling one’s life. “The Pink Opaque” is so ingrained in Owen’s and Maddy’s lives that it distorts their barrier between reality and fiction — a possible reading on the youth’s fixation with screens.
Smith hands in a truly devastating performance, capturing Owen’s reserved, almost trapped personality. He delivers each line with an unsettled, idiosyncratic cadence, demonstrating the agonizing confusion and sorrow overflowing Owen’s mind. Foreman, who portrays Owen in the first act, knocks it out of the park, accompanying Smith’s performance with grace.
Lundy-Paine is absent for much of the film, but she steals the screen with every appearance, equally captivating both Owen and the audience. In many ways, her journey is the film’s most haunting, culminating in a bewitching monologue.
Schoenbrun and cinematographer Eric Yue craft a consistently gorgeous visual climate, painting dimly lit, claustrophobic interiors and quaint suburban exteriors in striking pink, blue and neon. Strange beings, demented makeup and bizarre visual effects form a unique, almost Lynchian environment.
The music, perhaps my favorite piece of the puzzle, solidifies “I Saw the TV Glow” as an artistic masterpiece. Alex G’s score gives the film a synthy, moving and beating heart. The soundtrack is chock full of memorable original tunes, including Caroline Polachek’s “Sunburned and Unkissed” and Jay Som’s “If I Could.” Schoenbrun carves out an entire scene dedicated purely to Phoebe Bridgers and Sloppy Jane’s gorgeous performance of “Claw Machine.”
A bold, beautiful, modern examination of the trans identity, “I Saw the TV Glow” easily elevates Schoenbrun to auteur status. I can’t wait to see what else they’ve got up their sleeves.
