Before Natasha Lyonne was the awesome Nicky on Orange is the New Black, she was the awesome Megan in this indie film, which is somehow campy and scathing at the same time. Sure, it’s a bit cheesy, a bit preachy, but it’s a fine satire on heteronormative conversion therapy.
Pretty, sweet, church-going cheerleader Megan is blindsided when her family and friends stage an intervention to drop a bombshell on her: she’s a lesbian. Her parents, who assure her that they just want her to be “normal” and “healthy,” send her to True Directions, a two-month program that promises to de-gay her. Despite Megan’s initial insistence that she has nothing in common with the other teens in the program, she soon takes a hard look at her own sexuality. For a while, she’s a model participant, but a reluctant friendship with another girl grows into something much deeper, and for once, Megan realizes she can’t simply do as she’s told.
As with Nan in Tipping the Velvet, I like that Megan comes into her sexuality unawares. She’s not just resistant when her friends and family confront her – she literally doesn’t know what they’re talking about and doesn’t believe them. She hasn’t been wrestling with secret feelings that she’s ashamed of. Rather, she carries on modestly with her boyfriend in a disinterested manner, assuming that no one really likes kissing and everyone looks at other girls. She doesn’t think of herself as “wrong” until other people start putting their prejudices on her.
Tonally, it sometimes feels like two different films. A lot of the True Directions stuff is cranked-up-to-11 satire, including lessons on “appropriately” gendered activities and a simulated how-to on heterosexual loving featuring flesh-colored body stockings with Adam-and-Eve leaf designs over the naughty bits. Conversely, Megan’s blossoming romance with Graham is sweet, grounded, and sexy, an earnest coming-of-age love story. Both halves are great on their own, but while they don’t always gel together, I don’t think the film would be as compelling with only one or the other. It ultimately needs both, and I forgive any cohesion weirdness in order to get them.
Similarly, heavy material is dealt with in the midst of the campiness. True Directions’ methods are patently ridiculous (and horrifying at times – the kids have devices they’re supposed to shock themselves with when they have “inappropriate” thoughts,) but for some of the teens, their families will only welcome them back if they complete the program and come out straight. Even something as silly as a bored Megan ineptly making out with her boyfriend is tinged with sadness, because she thinks that’s all love is and doesn’t realize she could have so much more.
In addition to Natasha Lyonne, who’s equally hilarious and affecting, the film costars Clea DuVall (I always remember her best as Georgina in Girl, Interrupted) as the girl Megan falls for. RuPaul appears out of drag as an “ex-gay” conversion therapist, and the movie also features Michelle Williams (I’ve said it before and I’ll say it again – I love everyone from The Station Agent,) Melanie Lynskey (Pauline in Heavenly Creatures,) and Dante Basco (Rufio!)
Warnings
Language (including homophobic slurs,) lots of sexual references, sexual content (including an artful sex scene,) drinking, and smoking.
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