I Saw The TV Glow arrives with a wave of early praise, bolstered by its intriguing mix of nostalgia, psychological horror, and a striking exploration of identity. Directed by Jane Schoenbrun, the film centers around two troubled high school students (Justice Smith and Brigette Lundy-Paine) whose obsession with a television show begins to warp their sense of reality and their own identities. While the premise offers plenty of promise and builds an atmospheric tension reminiscent of Candle Cove and David Lynch’s work, the film struggles to lift itself beyond its ambitions, leaving a lingering sense of missed opportunity.

The narrative is ripe with themes of nostalgia and the feeling of being trapped—whether it’s in a body that doesn’t feel like yours or in a reality that’s constantly shifting and untrustworthy. These elements mirror the protagonists’ internal struggles as they face issues of gender reassignment and self-doubt. However, the execution becomes muddled, never quite delivering the emotional impact or the depth that these weighty themes demand. Instead, the film remains more interested in style and atmosphere, leaving the characters’ arcs feeling underdeveloped.

Schoenbrun’s exploration of nostalgia takes centre stage in the film’s aesthetic choices, leaning heavily into a Candle Cove-style approach, with eerie television broadcasts and strange occurrences making the characters—and the audience—question what’s real. There’s a palpable sense of dread that permeates the film, much of it owing to the Lynchian vibes that pulse through the visuals and soundscape. The surreal, dreamlike quality is one of the film’s greatest strengths, capturing the confusion and fear that comes from losing your grip on reality. Yet, where Lynch often manages to weave abstract ideas with emotional clarity, I Saw The TV Glow falters, leaving too much ambiguity without a satisfying resolution.

The killer soundtrack is another standout feature. Packed with an eclectic mix of tracks, it underscores the film’s nostalgic tone while also adding to its unsettling atmosphere. The music choices help immerse the viewer in the world Schoenbrun has crafted, one that feels just off-kilter enough to unsettle without overtly terrifying. It’s a sensory experience that lingers long after the film ends, even if the narrative doesn’t fully stick the landing.

Despite its shortcomings, I Saw The TV Glow is not without merit. The performances by Justice Smith and Brigette Lundy-Paine are compelling, capturing the emotional confusion and intensity of their characters. They deliver strong portrayals of youth grappling with identity, even if the script doesn’t always give them enough room to fully develop their characters. The supporting cast, including Helena Howard, Fred Durst, and Danielle Deadwyler, offer intriguing contributions but are often sidelined by the film’s focus on atmosphere over substance.

The film’s visual style, coupled with its heady themes, does manage to create a lingering impression. There’s something undeniably hypnotic about the way I Saw The TV Glow merges nostalgia with surreal horror, but it’s hard to shake the feeling that the movie, like its characters, is trapped in its own potential—constantly reaching but never fully achieving.

The Prognosis:

While I Saw The TV Glow boasts a promising premise, strong performances, and an unforgettable soundtrack, it ultimately falls short of delivering on its potential. The Lynchian atmosphere and Candle Cove-inspired narrative pull you in, but the film struggles to tie its themes together in a cohesive way, leaving viewers with more questions than answers. It lingers long after the credits roll, but more for what it could have been than what it is. A stylish but emotionally distant experience that never quite reaches the heights it sets out to achieve.

• Saul Muerte