Shocking film that shows the harsh reality that many adolescent victims of our wonderful system live. How to have sex (2023) Molly Manning Walker

Making your debut in a feature film is always a very complicated exercise. You have to choose the topic, tone, etc. very carefully, in addition to trying to avoid clichés and hackneyed things. In the case at hand, British director Molly Manning Walker has managed to make a brilliant and solid debut that deals with adolescence from a terrain rarely seen until now. In How to Have Sex, three friends who have just finished high school travel to the island of Crete to spend their first vacation alone, which they hope will be unforgettable. One of them, the shyest, Tara (Mia McKenna-Bruce) is still a virgin and has set her goal to stop being one. The fun consists of spending all day drinking, in the afternoon at the pool or in the resort rooms and at night, in the many clubs tailor-made for working-class British youth whose only intention is drunken tourism, as happens here, in Magaluf, for example. The three friends soon meet other compatriots who have the same plan. One of them, the most handsome, Paddy (Samuel Bottomley) will catch Tara's attention and, after an initial rejection, he will achieve his goal in a very unromantic way. From there, confusion will take over the girl, who will not be able to be sure if it has been a good experience or not. That pleasure that everyone tells you you would feel has not occurred and what it has given way to is shame. The rest of the vacation will be an unpleasant experience for Tara.

The script written by Manning Walker is very precise when it comes to realistically reflecting the sea of doubts that adolescence provokes and avoids any possible sweetening, although on the other hand it does not judge or condemn alcoholic excesses as to blame for the behavior of young people. which would have been the easiest and most reductionist. Nor does it embrace a feminist approach that would have made the film much more obvious and mainstream. But this script had to be brought to its stage and that is where the actors' interpretations give it its most innovative and special character. The naturalness with which Mia McKeena-Bruce plays the introverted Tara stands out from all the others. The expressive close-ups that the director gives us depict the fragility of an almost child who has woken up from a dream that has turned into a nightmare. On the other hand, the unbridled pace of the editing that gives us no respite throughout the hour and a half that the film lasts, places the viewer in a sometimes uncomfortable place, but that manages to identify with the protagonist despite not being have absolutely nothing in common with her and her sufferings. The verisimilitude of the story is such that it causes us quite pronounced confusion.

The film, winner of the Un Certain Regard section of the Cannes Festival, started with modest pretensions that have taken on greater dimensions based on the awards it won and the success of the public. So much so, that its screening in British high schools is fervently recommended so that adolescents learn to distinguish and identify the fine border of sexual consent. Because, as happens to the protagonist of this story, there are times when your mouth says yes when your body is saying no.

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