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. Radiating adolescent angst and shaking with the tremors of body dysphoria, the film has been hailed for its reflection of transgender becoming.
‘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.” This image released by A24 shows Justice Smith, left, and Brigette Lundy-Paine in a scene from “I Saw the TV Glow.” This image released by A24 shows writer-director Jane Schoenbrun, left, with actor Ian Foreman on the set of “I Saw the TV Glow.
Schoenbrun wrote the film in late 2020, just a few months into their transition. In that fraught moment of becoming, the script poured out in a manic rush.Summer Movies: 5 breakout stars to watch in ‘Sing Sing,’ ‘Quiet Place, ‘Horizon’ and more“I remember staggering out of my bedroom after I finished it and walking up to my partner and saying, ‘I can only do that so many times’ — that level of spilling my guts on the page,” Schoenbrun says.
“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.
“I was really trying to figure out why I had such shame about making my own art. That was explicitly the goal of that trip,” says Schoenbrun. “I was like: I need to figure out why I can work a day job and work really hard for someone else’s thing but why does the idea of sharing and advocating for my own thing feel horrible to me. Internalized gender shame was where I arrived in a very circuitous way.
“Usually as characters get older, they become more sure of themselves. This character becomes less,” says Smith. “It was one of the first films where I was like, ‘I really have to let go.’ I was having this parallel experience to the character who was so resistant to accepting themselves as enough.”
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