Shannon Murphy’s debut feature – the latest in the terminally-ill-teen romance subgenre – treats its characters with rare respect, and a quiet warmth
A crack of sunlight streams through a window, casting a teenage girl’s face half in darkness. The mood is reflective, the girl’s eyes full of emotions. The scene, overlaid with the title “What the Dead Said to Milla”, speaks to the tenderness of Shannon Murphy’s debut feature Babyteeth: a lovely, achey coming-of-age story that bursts with rare respect for its characters while tragedy peeks in through the curtains.
As of late, the teen romance genre has been flooded with films of a separate subgenre, in which at least one protagonist is terminally ill – see: The Fault in Our Stars, Me and Earl and the Dying Girl, and Five Feet Apart. Murphy’s film, which is adapted from Rita Kalnejais’ play and won accolades at the 2019 Venice Film Festival,...
A crack of sunlight streams through a window, casting a teenage girl’s face half in darkness. The mood is reflective, the girl’s eyes full of emotions. The scene, overlaid with the title “What the Dead Said to Milla”, speaks to the tenderness of Shannon Murphy’s debut feature Babyteeth: a lovely, achey coming-of-age story that bursts with rare respect for its characters while tragedy peeks in through the curtains.
As of late, the teen romance genre has been flooded with films of a separate subgenre, in which at least one protagonist is terminally ill – see: The Fault in Our Stars, Me and Earl and the Dying Girl, and Five Feet Apart. Murphy’s film, which is adapted from Rita Kalnejais’ play and won accolades at the 2019 Venice Film Festival,...
- 7/21/2020
- by Debbie Zhou
- The Guardian - Film News
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