The film is an adaptation of Emily M Danforth’s acclaimed Young Adult novel about a recently orphaned teenager who is caught in the act with another girl at her high-school prom. She’s promptly shipped off to a ‘pray the gay away’ camp – the nauseatingly titled, God’s Promise.
Set in the 90s, the heart-breaking insight into the reality of LGBTIQ teens is still too real.
Those who’ve been mesmerised by Aussie comedian Hannah Gadsby’s raw and honest, Nannette, will recognise some reoccurring themes, as teenagers are harangued into hating themselves based on the nature of their appearance, mannerisms and sexuality.
The parallels of the discrimination facing the queer community decades ago with those we see in 2018 make this piece all the more compelling.
It’s the second offering from director Desiree Akhavan (Appropriate Behavior) and has already taken out the Winner of the Sundance Grand Jury Prize (US Dramatic).
The director is on the record as saying she lamented the lack of queer representation in teen films when she was growing up, and she’s done a compelling service to that community (and everyone else for that matter) with this offering.
The Miseducation of Cameron Post, which also features a refreshing portrayal of feminine sexuality, will easily take its place in the ever-growing and very welcome bastion of LGBTIQ films deservingly pushing their way into the mainstream.
The ending might leave you a bit cold, but the narrative will keep you talking long after the credits role.
The Miseducation of Cameron Post. Photo: MIFF
The Miseducation of Cameron Post. Photo: MIFF
Who’s in it?
Expect all the feels from Chloë Grace Moretz (Carrie, The 5th Wave) who delivers a career-best performance as Cameron Post.
She’s the true calling card here, proving once again that she can carry (Carrie… get it?) a film.
Her starring role as the eponymous lead is emotional and honest but riddled with surprisingly dry humour throughout.
RELATED: Our top MIFF picks
MIFF review: Juliet, Naked
Melancholia the play debuts in Melbourne
It’s crazy to think this is the same girl who stole Nicolas Cage’s thunder in 2010 comic book geek-out Kick Ass.
Her transformation from novelty act to entire acting package is complete.
She’s here to stay. We should also mention she’s ably accompanied by a wealth of young talent who share the load with equally burdensome performances.
The Miseducation of Cameron Post. Photo: MIFF
The Miseducation of Cameron Post. Photo: MIFF
You’ll like this if you like
Melbourne audiences were clearly anticipating this film’s arrival, selling out both MIFF screenings.
It’s a little more intense than this year’s shining light in queer film – Love, Simon, and deliberately so, but it does tackle a few of the same issues albeit with a little more rawness.
In what may seem like a bizarre correlation, we found parallels in the low-key laughs with Spike Lee’s latest offering, The BlacKkKlansman, in which the heavy issue of racism is tackled through a similar lens of dark humour.
These moments of levity and clarity often come at the expense of those dishing out the vitriol, their wilful ignorance so blatant, the audience is forced to laugh.
In Cameron Post, it’s the evangelically misguided Christians, in Klansman, it’s the tragic white supremacists.
It’s up to the audience to decide whether or not the underlying reality of those villains makes it too difficult to find mirth in their madness. If these people actually exist, should we really be laughing?
