Disobedience — Review


Rachel McAdams and Rachel Weisz in a scene from Sebastián Lelio’s Disobedience


“If you think this movie is lacking in feeling, you’re not watching closely enough.”

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BLOG: What Makes the Kids Alright

Lady Bird.jpg

I’m about to talk about two recent coming of age movies, and neither of them are Greta Gerwig’s Lady Bird. Though I do mention it a few times, it’s not the primary focus of this column, and the sole purpose of this image and caption is to remind you to watch Lady Bird if you have not already.

by Ken Bakely

I’ve recently caught up with two of 2018’s most discussed coming of age films – Greg Berlanti’s Love, Simon and Vince Marcello’s The Kissing Booth – and, beyond the notion that the quality of the two films are intensely disparate, it provides a point of interest in the contemporary thematic and aesthetic expectations of movies about teenagers.

There’s a misconception that movies about, and made for, teenagers are a one-size-fits-all proposition. Looking at them from a more literal level, yes, they’re mostly set in high school, about tumultuous social relationships, and carry a gentle set of problems; depicting the low-stakes, high-tension rapid gossip spread through locker-clad hallways that anyone who’s graduated thanks God that they no longer have to deal with. And when Lady Bird, a classically molded coming of age movie which carries the format to such ecstatic heights that it rode its way to a Best Picture nomination, has caused such a splash in the film world, perhaps there’s a bit of subconscious attention directed to what this subgenre means.

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