Directed by Emma Seligman and written by Seligman and Rachel Sennott, Bottoms, is a coming of age story about two horny teenage girls kicking, punching, and slamming their way to getting laid. The …
, Havana Rose Liu, Kaia Gerber, Ruby Cruz, and Miles Fowler. This comedic journey of its young protagonist is not without its issues, but it’s unapologetic in its execution and filled with memorable moments.opens with PJ and Josie having a conversation about girls and sex. As lesbian teens, they don’t have the gumption to approach their crushes. Makes sense as to why, their confidence is in the toilet because they are constantly bullied and called “ugly, untalented gays.
This complicates things because the untalented gays have been telling this lie about being in juvenile detention to gain popularity. Instead of telling the truth, things spiral out of control and PJ and Hazel can’t reel it in. Crazy enough, this lie brings the popular and the outcast girls together to bond over their hatred of patriarchy, and love of violence. That all comes tumbling down when they find the fantasy they’ve created isn’t all it’s cracked up to be.
The film is strongest when dealing with the awkwardness of being a teenage queer on the fringe of high school society while having to deal with misogynior, misogyny, and homophobia. Instead of dealing with this in a healthy way, PJ is an a**hole, while Josie is a follower, and both live off this deranged lie they’ve spun. They are mean to others, all while being funny and charming at the same time–it’s the quintessential teenage experience.
The cast is the glue that holds this movie together, and anchored by its two phenomenal leads, and Seligman’s direction. Edebiri has a different approach to this work with her baby face, quiet sarcasm, and hilarious facial expressions. Her energy is infectious, and that partnered with her impeccable comedic timing gives her a unique style that she owns. Sennott isn’t afraid to be the center of attention, and isn’t afraid to look silly while being the center of attention.
Seligman’s style of storytelling and direction thrives on discomfort and anxiety. She is focused on generating queer content told from the POV of the female gaze, and makes smart directorial choices to compliment this. To take such risks shows maturity and a confidence in her craft because there’s nothing more exciting than the director who can visualize even the wackiest of ideas and translate that for a general audience–even if it is sometimes its not politically correct.
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