Girl in the Picture Story:-
Stripped away from “Girl Picture” are the typical teenage angst and self-doubt that often saturate cinema’s portrayal of adolescents transitioning into adulthood. Director Alli Haapasalo offers a refreshing take on the familiar genre with an upbeat, light drama that paints a rather smooth picture of Gen-Z growing pains. While the trio of characters presents a likable company as they journey into adulthood, Ilona Ahti and Daniela Hakulinen’s screenplay lacks gripping tension. It’s challenging to feel deeply invested in characters who seem capable of resolving their issues through casual heart-to-heart conversations or comforting embraces.
Movie Ratings
| Release Date | 6 July 2022 |
| Language | English |
| Genre | Crime, Documentary, Mystery |
| Duration | 1h 42min |
| Cast | Mark Chinnery, Natalie De Vincentiis, Sarah French, Dana Mackin, Meg Schimelpfenig, Robert Christopher Smith |
| Director | Skye Borgman |
| Cinematography | Arlene Nelson |
| Producer | Dani Sloane |
| Certificate | 13+ |
“Girl Picture” introduces us to three young Finns exploring their sexual and romantic desires with a frankness that surpasses their age. Initially, Mimmi, portrayed by Aamu Milonoff, establishes herself as a rebel-outsider, but her dynamic with her best friend Rönkkö (Eleonoora Kauhanen) quickly shifts the focus away from teenage turmoil. Instead, the film showcases their camaraderie in various settings, rarely returning to their high school environment. Rönkkö’s dissatisfaction with her sexual experiences becomes a subplot, treated with light humor rather than deep concern.
The central narrative revolves around Mimmi’s blossoming romance with Emma (Linnea Leino), a talented figure skater. Surprisingly, the hurdles they face stem more from Mimmi’s fear of commitment than societal or familial pressures regarding their queerness. Despite the potential for melodrama, the film is saved by the authentic performances of its main cast. Milonoff, Kauhanen, and Leino exhibit a natural chemistry that elevates their characters’ interactions, particularly highlighting the strength of Mimmi and Rönkkö’s friendship.
The film’s insensitivity is glaringly apparent, exemplified by a scene featuring TM Karthik, who was embroiled in the #MeToo movement, questioning another character’s conduct with women. By the conclusion, viewers may find themselves longing for a zombie bite over enduring the painful tedium of this film.