Jane Schoenbrun, a writer-director deeply influenced by modern media, takes us on a nostalgic journey in their latest film, I Saw the TV Glow. Set in the era just before the internet became ubiquitous, a time when our obsessions were less accessible but perhaps more cherished, the film weaves a rich allegory for identity through its complex and deliciously sincere (and weird!) narrative.
I Saw the TV Glow tells the story of Owen, a lonely teenager from a troubled home who finds solace and connection in his friendship with Maddy as they bond over their shared love for “The Pink Opaque.” Reminiscent of genre classics like “Buffy the Vampire Slayer” and “Charmed,” “The Pink Opaque” becomes a central part of Owen’s and Maddy’s lives, providing meaning and escape. Paying homage to the significance of these shows, especially for queer and trans audiences, I Saw the TV Glow becomes a cautionary tale about the intensity of fandom while also serving as a metaphor for Owen’s journey of self-discovery. Through his obsession, Owen glimpses the possibility of a truer self, a life more aligned with his inner feelings.
Schoenbrun’s narrative is poignant as it explores trans identity. Owen’s struggle is both sharp and compassionate, and Schoenbrun’s imagery travels through his psychological turmoil with honesty and depth. It is a bittersweet portrayal of confusion and longing, a reminder of the dangers of living vicariously through fantasy at the expense of engaging with reality.
Visually, I completely fell for Schoenbrun’s meticulous composition of each shot. Between this and their previous film, We’re All Going to the World’s Fair (a film released before Schoenbrun’s own transition), Schoenbrun proves they know how to create a vibe, for better or worse. I Saw the TV Glow is so immersive and really captures the feeling of being young and queer in the 1990s.
This is such a profound and interesting piece of art. I’m still thinking about it hours after leaving the Fargo Theatre, and I imagine I’ll be contemplating it for days and weeks to come. It’s a total nostalgic trip for those of us who came of age in the era of Nickelodeon shows like “Are You Afraid of the Dark?” and renting weird horror films at Blockbuster. It’s strange. It’s meticulous. It’s unsettling. It’s also an outstanding follow-up picture for Schoenbrun. This film firmly establishes them as a significant voice in contemporary cinema. I can’t wait to see what they do next.
