Since its debut at the Sundance Film Festive, Jane Schoenbrun's “I Saw the TV Glow' has been hailed as an acutely intense psychodrama of self discovery.
'I Saw the TV Glow' is one of 2024's buzziest films. It took Jane Schoenbrun a lifetime to make itWriter-director Jane Schoenbrun poses for a portrait on Tuesday, April 23, 2024, in New York to promote her film"I Saw the TV Glow.
By the time “I Saw the TV Glow” was nearing production, Schoenbrun was no longer in the same head space. They came to Green-wood to make outlines and rekindle the “early transition terror” that had since passed. “I Saw the TV Glow,” poised on that cliff of becoming, is at the forefront of a new vanguard for trans cinema. Films like Vera Drew’s “The People’s Joker,” Paul B. Preciado’s “Orlando, My Political Biography” and Alice Maio Mackay’s “T-Blockers” have crafted new movie forms and images that compellingly reflect trans experience.
Gender, transformation and filmmaking remain innately connected for Schoenbrun. Their film tastes are wide but trend toward, they say, movies that seem impossible and films that suggest new possibilities. The gentle dramas of Kelly Reichardt, the body horror of David Cronenberg and the outlandishness of Tom Green's “Freddy Got Fingered” all come up as sign posts.
Schoenbrun now finds themself emerging as a filmmaker and as themselves at the same time. The 2021 Sundance premiere of “We’re Going to a World’s Fair,” about about a teenager immersed in an online role-playing horror game, was virtual. But it was still the most public Schoenbrun had been since transitioning. “That was starring in the school play in your underwear for me,” they say.
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