Teenagers on a mission to lose their virginities. A classic trope used in the coming-of-age genre, but Bottoms (2023) is anything but a formulaic remake of cult classics like Superbad (2007) or American Pie (1999). Bottoms is satirical, campy, violent and unapologetically queer. Directed and co-written by Emma Seligman and Rachel Sennott, who also stars in the film alongside Ayo Edebiri playing lesbian best friends PJ and Josie. In supporting roles are Ruby Cruz, Havana Rose Liu, Kaia Gerber, Nicholas Galitzine, and Marshawn Lynch.
The film begins with PJ and Josie getting into an altercation with the captain of the football team, Jeff, at the fair. The next day at school, things escalate quickly when rumours start spreading that the two were in juvie over the summer and beat up Jeff. They eventually get called to the principal’s office to explain themselves and Josie concocts a lie to protect herself and PJ from being expelled by telling the principal that they were practising for their self-defence club. The two proceed to actually start a female fight club, under the guise of female solidarity, but decide to use it as an opportunity to lose their virginities.
What makes Bottoms the perfect film to be a classic coming-of-age comedy is its flawless and calculated combination of modernity and nostalgia. Throughout the 90-minute runtime, there is little to no technology spotted other than a flip phone and a Discman. Yet, the dialogue and themes are so relevant today that the film sometimes feels indistinguishably modern. Even through costume, it is difficult to discern the film’s exact time period. Each character has their own unique style that embraces a certain past era of fashion. Isabel is seen in classic vintage pieces, PJ wears stripes and corduroy reminiscent of the 70s, and Brittany embraces Y2K fashion. The sheer variety of multi-generational styles reflects current era-based fashion trends.
Whether the movie is actually set in the early 2000s or the use of relics from the past is a reference to our cultural fixation with nostalgia is unclear. What is clear is that Seligman’s and Sennott’s avoidance of explicitly situating the film into a specific time period makes the film feel timeless. Furthermore, their ability to develop the plot without relying on specific technology helps ensure the film is relevant regardless of how technology changes.
Another aspect that makes this film so great for young women and queer people are the feminist undertones laced throughout. The film represents deeper themes of intersectionality and solidarity between all different kinds of women and does so without being on the nose or overtly woke. Many of the jokes and even the general concept of the film (creating a fight club in the name of solidarity to take advantage of girls) are inherently anti-feminist. However, this is done satirically, and there is a level of self-awareness throughout the film. Over the course of the film, we see the characters develop and through their actions, we can see them understand the importance of female solidarity and allyship.
Overall, Seligman and Sennott balance the absurdity and utter chaos that ensue over the course of the film with so many subtleties that show a high level of attention to detail that makes this film not only entertaining but also a meaningful and important watch, especially for young women and queer people.
Bottoms is playing in select Cineplex theatres so be sure to give it a watch.