There’s nothing quite as liberating as the feeling of finally being able to exist authentically. For the majority of people, this is a seamless process that often just entails finding your place in the world and adhering to the status quo. However, there are those that tend to struggle with their identity, which can sometimes present itself as a seemingly insurmountable challenge. For most, these questions are raised in our formative years, in the ambigious space between childhood and our adult years, where we undergo a meteoric development that can be intimidating for those without the right guidance in their lives. This is the starting point for Edge of Seventeen. the wonderfully eccentric and deeply meaningful coming-of-age film directed by David Moreton, and written by Todd Stephens, who stands as arguably the most important authorial voice on this film, his perspective being the primary propellant for this fascinating story of a young man who finds himself trying to break free of the shackles of his working-class Ohio upbringing, setting his sights on a much more open-minded horizon, one in which his identity is not seen as deviant or the sign of some internal perversion, but rather accepted (and even celebrated) as yet another addition to a vivid tapestry of individuality that has always been the foundation of the LGBTQIA+ community. Edge of Seventeen is a wonderfully endearing film with a powerful message and an abundance of heart, and through the careful construction of a story that means a lot to the queer community, Stephens and Moreton manages to craft something that speaks across generations, and celebrates the intricate differences that make us all so beautifully complex.

Adolescence is a difficult time for many of us, and Edge of Seventeen demonstrates how it can only be complicated when someone finds that they don’t quite fit in with their surroundings – whether physically or psychologically, there is something different about the way they function that keeps them at a distance from what is supposedly an ordinary life. The coming-of-age narrative is one that constantly looks at this concept and examines it through various lenses, going back to the very start of artistic expression itself, whereby there were countless tales of young people undergoing the laborious journey from innocence to experience, all while trying to maintain a place in a society driven by very strong ideals. This film executes these ideas with precision and earnestness, and looks at the protagonist’s identity with a careful blend of comedy and drama. This is not the over-the-top, joyful and exuberant gay comedy we often find, but one that is more reserved and subdued, an elegant story of a young man discovering his sexuality through a combination of happy mistakes and life-changing coincidences that alter the course of his future and cause him to re-evaluate everything he considered to be true. Stephens may have only written a few works over the course of his career, but they all carry a radical significance in how they focus on the themes of identity and reconcile them with something much deeper and more profound, which lead to multilayered, complex works that speak to entire generations and show them that this is not a journey that needs to be taken alone. The fact that Moreton and Stephens were able to find humour in this material is remarkable in itself, since this is a film defined by as much laughter as it is heartbreak, which allows for a surprisingly meditative experience that looks at some very important themes with a lot of gravitas.

Throughout Edge of Seventeen, there is a very distinct style, one that is not often found in more mainstream queer films. To be able to actually speak about the concept of a gay story being even vaguely mainstream is an absolute privilege since it indicates that we have grown as a culture, where these stories are continuously told, whether it be for the queer community (who see themselves reflected in these characters), or for a wider audience, who have begun to embrace a wider range of stories. However, there’s very little doubt that this film was produced to be more appreciated by those within the queer community, especially since it can be quite detailed in showing the struggles of young people who are coming to terms with their sexuality. It is often quite raw and straightforward, and never once seems to be placating the sexually-charged energy that often occurs in situations of someone falling in love. There are very few innocent glances or demure flirtations found throughout the film – it is instead visceral and quite harsh, especially in how it adds an element of carnal desire onto the existing coming-of-age narrative. It is certainly done tastefully, and neither Moreton nor Stephens are trying to make a film that feels like it is exploiting the characters for the sake of lust-fueled satiation, but rather showing the reality that many young people face when exploring their identity. The gradual journey we see the main character taking is punctuated by moments of unhinged joy and haunting loneliness, which all ultimately manifests as a poignant demonstration of identity, as shown through the eyes of someone trying to make sense of many different changes transpiring in their life.

Edge of Seventeen is the rare kind of coming-of-age film that didn’t hinge on the strength of its performances, instead being more focused on the story and the ideas that it represented. However, this did not mean that it lacked strong performances, even if they are not necessarily as strong as they could have been. It is important to remember that this was an independent film, and therefore finding professional actors that could handle this material was going to be slightly out of their reach, especially in the leading roles. Chris Stafford is the protagonist, and he is supported by Tina Holmes and Andersen Gabrych as two of the other most significant characters, both of them playing individuals who represent the two sides of his identity. Their status as newcomers is clear – their line delivery is often quite stilted, and they tend to lean too heavily into the melodramatic tone, rather than acting in opposition to it. However, there is a charm to having relatively inexperienced actors play these roles, since it speaks to the overall message of the film, which is about negotiating one’s identity and understanding that they are still developing. The strong performances come from slightly more seasoned veterans like Stephanie McVay and Lea DeLaria, who have small but pivotal supporting roles that stand at the heart of the film and give it emotional nuance, but it’s the young cast that really infuses Edge of Seventeen with soul. They are rough around the edges and are driven by imperfections, but this is reflected in their characters – this is a film about embracing the fact that you are a work in progress, and having performers who can take on such challenging roles with wit and nuance only increases the incredible joy that exudes off every frame of this film.

A beautiful and poetic film that establishes itself as an essential piece of queer filmmaking, Edge of Seventeen is a triumph, a film that easily buffs out its slight imperfections in favour of a powerful and poignant demonstration of a young man coming into his own, and learning to emerge from the shadows as a fully-formed, unabashedly proud young man. It’s a fascinating and invigorating story of someone who is doing his best to develop into someone with a clear sense of direction, and while it can sometimes be slightly too melodramatic (mercifully Stephens has become a much better writer in subsequent projects), but it has an authenticity to it that feels much more important than a few moments of stilted dialogue and some cliched jokes that are awfully dated, but not so much that the experience of watching this film is at all impacted. It’s a beautifully earnest and heartwarming film with a lot of comedic value (which helps break the more tense atmosphere – after all, the film is inherently quite sad and ends on a happy note, albeit one that is still very ambiguous). It carries itself with dignity and a sense of curiosity, and sets out to tell an important and impactful story that is layered with importance. It is quite simply an extraordinary achievement, and warrants every bit of adoration it has received, both as a vital piece of queer cinema, and a genuinely moving film in general.