The Diary of a Teenage Girl


Drama / Romance

The Diary of a Teenage Girl (2015) download yts

Rotten Tomatoes Critics - Certified Fresh 94%
Rotten Tomatoes Audience - Upright 80%
IMDb Rating 6.9 10 13451  


Added By: Kaiac
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Kristen Wiig as Charlotte
Margarita Levieva as Tabatha
720p 1080p
756.18 MB
23.976 fps
1hr 42 min
P/S Unknown
1.56 GB
23.976 fps
1hr 42 min
P/S Unknown

Movie Reviews

Reviewed by maurice yacowar 8 / 10

teenage girl discovers her sexual and creative power -- and their danger

You don't have to be or remember being or know or parent a teenage girl to find yourself addressed by The Diary of a Teenage Girl. Its broader theme is the danger of power, especially the sexual license which the setting — San Francisco, 1976 — emblematizes.

Young Minnie discovers both her sexual and her creative power as she's deflowered by her mother's boyfriend Monroe and draws cartoons in the style of (R Crumb's wife) Aline Kominsky. (Monroe, by the way, may be a studly ballooning of Jules Feiffer's nebbish hero of the time, as Minnie proves a long way away from the cartoon style of Mickey and his gal.) The animation scenes show her living in a state of heightened awareness, life bursting out and into art. Both endeavours prove dangerous. Her affair threatens her mother's shaky security and her art-work can strike the conventional (e.g., Monroe) as freaky as her exuberant sex strikes a younger lover. Her other creative enterprise, tape recording her confessions, blows up the scene. Art and sex are avenues of self-discovery and self-realization — dangerous. Both are life-affirming but both herald the frightening responsibilities of adulthood.

Minnie is obviously the film's central subject and consciousness. Self-conscious about her physical imperfections, she succumbs to her mother's and Monroe's invitations to assert her sexuality. Full credit to Bel Powley for an astonishing, shameless and vanity-free presentation.

But the other women are significant too. There's Minnie's "white trash — but in a good way" best friend, in whom she entrusts teen confidences but who steals a bout with Monroe herself.

There's the lesbian lurking in the bush who seduces Minnie only to exploit her for her own purposes. So you don't have to be a man to exploit a trusting young girl — though Monroe demonstrates how swaggering manhood and convenient access are a huge advantage. Monroe's casual predation shows how his power can destroy him too. He knows he shouldn't do what he does and he knows Minnie is manipulating him but he can't control himself. He even drifts into Charlotte's silly web to resolve the issue: Monroe must marry Minnie. He's too easily satisfied even to realize his own small dream of a mail-order vitamin empire. Remote infusions define him. The fact that he lets himself be seduced by young Minnie shows him victim of his own passivity, a character wholly without character.

But the two other key characters are Minnie's mother and younger sister. Charlotte was a highschool beauty, is still as beautiful and enchanting as Kristen Wiig, surrounded by lusting lovers — and is paralyzed by that former power. She desperately clings to romance because she feels she has lost her sexual appeal and beauty. As her egotistical ex-husband Pascal insensitively declares, she can't run her own life. We watch her drift from one stupor to the next, abandoning Minnie to Monroe and latenite TV, eventually being fired from her library job. Only the fear that her anger may have driven Minnie to suicide sobers her up sufficiently to embrace her prodigal daughter. At the end, though, Charlotte is still "seeing" Monroe, unable to escape her enslavement to her sexual liberty with him. "We can never talk about it," she instructs Minnie, but she can't leave the man who humiliated her either.

Kid sister Gretel shows more hope. Without either her beautiful mother's or her plainer sister's looks she has to find another path to mature self-respect. With her mother's shallowness as one model, she finds a preferable one in the new Minnie. From her she learns that she doesn't need a man or a relationship for self-respect. The two sisters used to fight and swap bitter notes but at the end they frolic together, with an exuberance that bonds them as women, as sisters.

Reviewed by calvintoronto 1 / 10

Incredibly poor adaptation of a superior novel

What is a masterwork -- Phoebe Gloeckner's graphic novel hybrid -- that roundly condemns patriarchal privilege and the exploitation of young women and girls, here turns into a very careful take on a young's girl's exploration of her sexuality that is rote, unenlightening, devoid of any feeling, and ultimately uninteresting.

Certainly, film versions of novels are different beasts, and I suppose one shouldn't expect faithfulness to the original. But this movie loses its way in that it can't really deal with the subject of exploitation and so, being careful not to veer into said exploitation, makes sure that the subject of sex is as non-erotic as possible.

You can't really tell if Minnie has lost her way, or if she is confused, or full of contradictory emotions, or just a mopey teen. She *appears* to be all these things -- but the tonal flatness of the entire enterprise results in a portrait of a young girl you could not care less about.

Bel Powley's wide-eyed and round-faced blandness fails to convey any complex emotions. Sure, she cries and she gets angry...but to what end? Since the film is so flat, the crises and shocks depicted (having sex with Munroe, doing drugs, hooking up with Tabitha, being "bold" about want to "f**k f**k f**k") are about as interesting as having a big mac. Minnie's final thought about Munroe -- "I'm better than you, you son of a bitch" -- is supposed to gather together, for Minnie and for the reader/viewer, what Minnie has learnt, in overcoming the overweening pretentiousness of men like Munroe. But the knowing smile of Minnie in the graphic novel is replaced by Powley looking half-stupid, to no end.

The film replaces the novel's near-catharsis with some pithy bromides about Minnie, supposedly wiser now, saying she doesn't need a man and intimating that you need to love yourself first. Yeah, another 15-year-old wise beyond her years.

The final insult is that Minnie dances in that kooky, indie way, that is so contemporary, like girls dancing to Feist's 2007 "1234." Girls and women didn't dance like that in 1976. (I know; I was there.)

Better luck next time.

Reviewed by Danny Blankenship 8 / 10

An intimate and blunt brash look at the coming of age of a young lady who learns about life, love, and sex while finding herself.

"The Diary of a Teenage Girl" is one film that's not worried about showing it's point even though it's supported by some artistic animation it proves that one young lady is serious about finding herself thru sexual discovery learning that life is about love and lust before you discover your true self. Set in mid 1970's San Francisco Bel Powley is Minnie a young teenage girl who starts an affair with her Mom Charlotte's(Kristen Wiig) boyfriend Monroe(Alexander Skarsgard). And the passion and intimate feel is hot and feel good as many scenes are provocative and blunt showing plenty of skin and breast of young Minnie. As this young lady is in a crazy home life world as mom Charlotte is a fired alcoholic lady who snorts drugs with Monroe on the west coast and California party scene. Thru it all this young lady Minnie learns about people, life and love yet most important she comes to peace thru herself with love and inspiration for art and people. Overall good film of fun, discovery and finding about one's self with a happy feel in the end.

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