Teen Ass Movies

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Being a teenager is hard enough, but once the hormones start raging, all bets are off. These films will help you get through it (or remember it semi-fondly).
Risky and risqué, indie films have always been a home for bold, honest, and controversial visions of teens’ sexuality. Eliza Hittman’s “Beach Rats,” opening this week after bowing at Sundance in January, is another notch in the belt of the sub-genre, a sensitive and often shocking look inside the coming-of-age of a young Brooklyn teen.
Like the best of these films, it’s not all about hormones; it builds on questions about identity and desire. But that’s there too, in sensitively crafted scenes that don’t skimp on reality. Punctuated by some bad choices and an unnerving final act, “Beach Rats” embraces the full spectrum of teen sexuality, even when it’s not exactly alluring.
Here are eight indie films that engage with the subject matter in appropriately intimate ways.
While “Beach Rats” isn’t an official sequel to Hittman’s previous film, “It Felt Like Love,” the filmmaker explores similar themes and structures and both, told from seemingly opposite vantage points. Set during another languorous Brooklyn summer, Hittman’s debut follows 14-year-old Lila (a fearless Gina Piersanti), awkwardly and constantly exposed to the sexual exploits of her older friend Chiara (Giovanna Salimeni), who goes through boyfriends and experiences with the kind of ease that Lila can scarcely imagine. Lila’s desire to be, well, desirable, finds her fixating on a local boy Sammy (Ronen Rubinstein) with a reputation, whom she doggedly pursues in hopes of striking up a relationship. Lila’s emotional immaturity constantly butts up against her deep physical desires, leading her into increasingly fraught situations she’s not equipped to handle. Like “Beach Rats,” Hittman slowly spoons out important revelations, but its the smallest details that hurt — and hit — the most.
Abdellatif Kechiche’s rigorously erotic three-hour romance initially spawned Cannes walkouts before picking up the Palme d’Or, split three ways between Kechiche and his stars Adele Exarchopoulos and Lea Seydoux, proof of the level of dedication all three of them poured into a wild (read: maybe even nightmarish) shoot. While “Blue” earned big buzz because of the obvious — its long-form sex scenes, alternately hot and totally exhausting — that only obscures the finer points that Kechiche and his ladies put on the ill-fated romance between Adele and Emma. Hormonally speaking, it’s essential that the film opens when Exarchopoulos’ Adele is still slogging through high school, all burning desires and deep boredom, the perfect time for her to meet and fall obsessively in love with the slightly older Emma. There’s no love quite like the first, and while Adele’s awakening isn’t just about sex, but also her sexuality, that her most formative of experiences comes at the hands of another woman is simply one facet of a highly relatable love story. Sure, audiences may still flock to the film for its unbridled sex sequences, but there’s no scene more telling than Adele, stuffing her sauce-stained face full of spaghetti, bursting with new desires that have to be redirected somewhere. 
Awkward, horny teens eager for sexual satisfaction are hardly underrepresented in the entertainment world — hello, sex comedies — but films that center on teenage girls and their kinkiest desires are still outliers. Jannicke Systad Jacobsen’s Norwegian festival favorite doesn’t shy away from showing off just how gross, weird, and yes, horny as hell girls can be, too, all filtered through the experience of indomitable Alma (Helene Bergsholm). When the film opens, Alma’s sexual awakening is already chugging right along, though it’s about as tragically amusing as it gets, punctuated by routine calls to a phone sex line and a mother who just doesn’t get it. Alma’s life gets both worse and better when a popular peer pokes her with his penis at a casual gathering (romance!), and she refuses to let him live it down, alternately turned out and a little freaked out. Her isolation grows (turns out, high school kids are awful), but her libido won’t be tamed — a strange mix that adds up to a risky, funny feature topped off by some big truths.
Dee Rees’ lauded feature debut (based on her short of the same name) is a revelatory look inside the fraught coming-of-age of Brooklyn teen Alike (Adepero Oduye), as she conceals her sexual desires — and, in many ways, her entire identity — as outside forces push her to be honest about what she wants. That’s a hard enough concept for even the most well-adjusted of teens to face, but for Alike, trapped by a restrictive family and pushed to conceal everything from her wardrobe to her taste in music, it feels nearly impossible. Rees peppers in moments of Alike embracing her true feelings, brief flashes of freedom that hint at who she could be if she didn’t need to hide, but they also live alongside nerve-wracking reveals that drive home just how trapped she is. For Alike, her sexual awakening comes hand and hand with her personal growth, and neither will be the same by the film’s moving conclusion. She is not running, she is choosing. 
David Wnendt’s 2013 German drama goes there. And also there, there, and there, right around there, over there, and down there. If there’s an orifice for leading lady Carla Juri to probe in pursuit of pleasure (and maybe even some pain), she’s going to do it. Possibly also with a vegetable. The most out-there, oh-wow coming-of-age story of the century, a movie that makes the pie-loving of “American Pie” look embarrassingly infantile and “Blue Is the Warmest Color” seem suitable for family consumption, “Wetlands” is a riot of sounds and sights that run the gamut between dreamy and nightmarish. But for all its gross-out humor, “Wetlands” also packs an emotional punch, all of it hinging on Juri’s wild-eyed work as the wholly unique Helen, on the cusp of the rest of her life (and super-horny for it).
Marielle Heller’s 2015 Sundance hit “The Diary of a Teenage Girl” is not your average coming-of-age story. Based on Phoebe Gloeckner’s graphic novel 2002 “The Diary of a Teenage Girl: An Account in Words and Pictures,” the film bravely and brazenly turns its taboo subject matter — the sexual awakening of a teenage girl — into a funny, smart, and honest story that entertains as much as it educates. Bel Powley stars as Minnie Goetze, a precocious 15-year-old muddling her way through the swinging scene of seventies-era San Francisco. Like many girls her age, Minnie is struggling to find her place in the world, a journey made all the more difficult by her seemingly unstoppable hormones. As Minnie taps into her burgeoning sexual desires, her life takes a turn — straight into the arms of Monroe (Alexander Skarsgard), her mother’s boyfriend. Heller deftly navigates questions of consent and issues of age, and Minnie makes it clear that she’s making her own decisions, even if they’re probably bad ones.
James Ponsoldt’s 2013 adaptation of the Tim Tharp novel of the same name (beautifully written for the screen by Scott Neustadter and Michael H. Weber) has often been hailed for its sensitive depiction of addiction and its fresh spin on the classic teen romance, but it also takes on sexual awakening in a moving way. Inexperienced Aimee (Shailene Woodley) is seemingly no match for the confident Sutter (Miles Teller), but when the pair fall into a hazy relationship, she bravely embraces the possibility that they could have something real. Inevitably, that includes Aimee losing her virginity to Sutter, in an achingly real sequence that sees Woodley assuming control and guiding the pair into one of the most relatable and emotional love scenes in recent memory. That it also handily deals with issues of consent and doesn’t try to be salacious just for the hell of it makes it even better, and further illustrates the different ways in which both Aimee and Sutter are coming into themselves, with sexuality as just one face of that maturation.
Tucked inside Julia Ducournau’s midnight movie, a visceral, challenging, and often jaw-dropping genre feature about cannibalism, is a tasty treat of a coming-of-age tale. The film follows a young student (Garance Marillier) who discovers some uncomfortable truths about herself (and the world) when she heads off to vet school (kind of the perfect setting for a body horror film), most of them centered on her evolving relationship with meat. All kinds of meat. Initially restrained and severely buttoned up, Marillier’s Justine eventually takes a bite out of her burgeoning desires when a weirdo school tradition activates her hunger in a myriad of ways. Ostensibly a horror movie with bite, Justine’s journey from vegetarian to meat-lover also mirrors her descent into the desire for other kinds of flesh. A parable and a straightforward chiller in one bloody package.
Love all these films but wish mine made the list too -“Toe to Toe”, premiered at Sundance 2009, distributed by Strand.
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Updated Jan 12, 2019; Posted Aug 16, 2013
Gallery: Movies: Tough characters, strong women. A look back
CLEVELAND, Ohio -- Forget breaking the glass ceiling. How about breaking a dude's face? "Kick-Ass 2" is only the latest in a long line of movies to roll out bad girls and bad-ass roles that kicked down the doors and took no prisoners:
1979, Sigourney Weaver as Ripley: A staple in the “Alien” series and one of cinema’s most memorable women -- a tough-talking warrant officer who doesn’t play sidekick or follow men. She’s also a unique hero: an Everywoman defined by her deeds.
"The Blue Angel," 1930, Marlene Dietrich as Lola Lola: Dietrich was a bad-ass on and off the screen, a strong woman, an anti-Nazi and a bisexual who often donned men's clothes and was a fixture in Berlin's 1920s gay and drag scene. On-screen, she played saloon cowgirl, cabaret girl and broke taboos by kissing another girl. But it's her role here, as the confident temptress, that set the standards for the free spirit.
1981, Kathleen Turner as Matty: Turner reprises the devious sex bomb – or, shall we say, femme fatale -- of 1940s flicks in this neo-film noir. In other words, men are so naive.
"Bonnie and Clyde," 1967, Faye Dunaway as Bonnie Parker: She's beautiful, stylish and headstrong -- a woman who knows what she wants and goes and gets it. Inspirational, though you'd be hard-pressed to find another Faye Dunaway on bustedmugshots.com. There is no justice in the world.
2012, Kelly Macdonald as Merida: A 16-year-old girl who’d rather fight witches in the woods than go to the homecoming dance? That’s Merida, the tough girl who has done more for toy bow-and-arrow sets than any dainty princess.
"Bridget Jones's Diary," 2001, Renee Zellweger as Bridget: We are not superheroes, and we all have doubts. Which is what makes Bridget real -- because she must overcome things that paralyze so many, and she does it with a sense of humor.
"Crouching Tiger, Hidden Dragon," 2000, Michelle Yeoh as Yu Shu Lien: The stunts in this martial arts breakthrough are stellar. They're also performed with a vigor that rivals any of the guys by Michelle Yeoh, a Hong Kong action vet renowned for doing most of her own stunts.
1944, Barbara Stanwyck as Phyllis Dietrichson: Phyllis is so cunning and conniving that Stanwyck at first rejected playing the murderer in that, um, interesting blond wig. She did -- and it turned out to be her most memorable role.
"Ghost World," 2001, Thora Birch as Enid: She's an 18-year-old misfit who befriends a middle-aged male misfit because he's "the opposite of everything I hate." She hates the music, routines and hypocrisy of societal lame-os and sets out to chart her own path.
"The Girl with the Dragon Tattoo," 2009, Noomi Rapace as Lisbeth Salander: You could call it a neo-"rape and revenge" film. Yes, Lisbeth does seek out revenge, in ruthless, ultra-violent fashion. But she goes beyond that in the pursuit of justice.
"Gun Crazy," 1950, Peggy Cummins as Annie: "Deadly is the Female" was the original title for this tale about lovers who "go together like guns and ammunition." Meet Annie, a girl who robs banks, shoots people and belts out tough-girl lines like, "I've been kicked around all my life, and from now on, I'm gonna start kicking back."
1974, Pam Grier as Foxy: This blaxploitation classic about a tough girl who poses as a prostitute to exact revenge against thugs made Grier into a black action heroine. It also made her the toughest bad girl in cinema.
"Kick-Ass," 2010, Chloe Grace Moretz as Hit-Girl: This satirical flick about ordinary kids trying to be superheroes is all about the boy, at least in the beginning. Which makes the rise of little Mindy as Hit-Girl striking. That and the fact that she's ultra-violent and takes on -- and mangles -- the mob.
"Kill Bill," 2003-2004, Uma Thurman as The Bride: Quentin Tarantino's two-part martial-arts-and-blood-and-guts saga pays homage -- hey, that's what he does, right? -- to the Hong Kong "girls with guns" genre. It pulls off the gunplay with a bad-ass of a character who avenges a wedding massacre.
"Le Femme Nikita," 1990, Anne Parillaud as Nikita: This slick 1990 action flick inspired countless girls to become assassins for shadowy organizations. No, actually not. But it did create a much-needed female anti-hero, not to mention a different kind of power suit.
"Little Miss Sunshine," 2006, Abigail Breslin as Olive: Olive stands up for every 7-year-old girl who is thinking, deep down, the hell with beauty pageants, crazy ribbons and tacky hair -- I want to fly my freak flag.
"The Manchurian Candidate," 1962, Angela Lansbury as Eleanor Iselin: She's the evil puppet-master with the world on a string and a smothering mother with a leash around her son's neck. Meet the senator's wife and the hero's mom -- the double face of evil in this Cold War tale of espionage and paranoia.
"Mildred Pierce," 1945, Joan Crawford as Mildred: A twofold display of strength. Yes, the film noir follows the rags-to-riches ascent of a strong-willed single mom. (Unfortunately, her daughter is beyond her control.) But the film is also a credit to Crawford, who made it at an age -- 41 -- when most women were being written off in Hollywood.
"Million Dollar Baby," 2004, Hilary Swank as Maggie: Boxing flicks always lionize the underdog. But is there a bigger underdog than Maggie, the scrappy waitress who has a hard time finding a trainer, let alone getting a shot at being a contender?
"Ms. 45," 1981, Zoe Tamerlis Lund as Thana: You could call this rape-and-revenge story the female equivalent of a Charles Bronson vigilante flick. Except that Mr. "Death Wish" never donned a nun's habit and red lipstick and shot every dude at the party.
"Run Lola Run," 1998, Franka Potente as Lola: The running time of this film is 81 minutes. Lola spends most of it, well, running -- to save her boyfriend. Yes, she's a hero, but she must be in great shape to run, Lola, run, Lola, run, Lola, run . . .
"The Terminator," 1984, Linda Hamilton as Sarah Connor: Yes, her strength lies in her giving birth to a boy, but she redefines fighting for reproductive rights while evading mayhem and that Arnold guy.
"Thelma & Louise," 1991, Geena Davis and Susan Sarandon as Thelma and Louise: A buddies-on-the-road getaway becomes an outlaws-on-the-run flick pretty quickly -- triggered by the attempted rape by a cowboy in a bar. Bonding on the road, in movies at least, has long been a man's game. Until this flick.
"What's Love Got to Do with It," 1993, Angela Bassett as Tina Turner: A woman trapped in an abusive relationship looking for a way out -- it's a conceit explored often in movies, to varying degrees of abuse. This take features Bassett playing Turner, the real-life woman who managed to get out and triumph.
"The Wizard of Oz," 1939, Judy Garland as Dorothy: Yes, she has magic heels. But she also finds courage, not to mention a brain and a heart, when her male chums find themselves lacking.
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