Film Review - Yes,God Yes (2019)

Stranger Things star Natalia Dyer stars as Alice, a teenager who is brought up in a strict Catholic household with her mother and father, in particular, very much bound to their church. She also attends a Catholic school where teachers roam the corridors checking that dress, presentability, and conformity are strictly adhered to. But, like all teenagers, she is slowly becoming a slave to her human urges, particularly after a few too many watches of Titanic and the infamous “foggy carriage” scene, but the powers that be don’t take kindly to her disruptive behaviour – as they call it – and decide that a stint at the church’s rehabilitation centre will set her back on the right path. Then, Alice stumbles onto AOL chatrooms, and her world is blown open like never before.

Damnation, of course, is serious business in church circles and no matter what your own personal opinion is of such teachings, Karen Maine’s thoughtful indie comedy doesn’t take sides. Carefully and concisely, the film wants to discuss both sides of the coin, and in doing so presents a warm film that allows us to make up our own minds, though that doesn’t stop her from having a little subtle dig here and there about the educational system in this way which gives the film its edge and dry wit.

It’s a little too slight in places (with its lean 78-minute runtime working to the benefit and detriment of the film’s narrative) and not many of the ing players really get too much time to shine – bar Timothy Simons’ Father Murphy – but this isn’t their story and while they add texture, we don’t really get invested. Indeed, some may be put off with the early 2000’s setting as the world has moved forward (and back) a lot since then but it’s a very smart framework for the film and helps keep it sharp and slightly off-kilter in the best way.

What sells Alice’s journey and her frustrations is Dyer’s superb central turn that lingers long after the credits have rolled. Sidelined somewhat in that Netflix show she’s in – although the last season saw her given a lot more to do – she soars throughout, beautifully conveying Alice’s confusion and enlightenment with levity and warmth that’s refreshing and insightful.

We’ve seen such stories before about sexual repression, adolescent confusions and sexuality before (Desiree Akhavan’s The Miseducation of Cameron Post an obvious example of beautiful and realistic portrayals of such themes) and Yes, God, Yes is a worthy inclusion on such lists but is a little too modest to the upper ranks. That said, it’s a fresh, touching, and funny tale and, for Dyer’s performance alone, is well worth seeking out.