Roses Have Thoughts

Yes, God, Yes, directed by Karen Maine, is a refreshingly sharp and witty exploration of sexual awakening and religious repression. Set in the early 2000s, the film draws on nostalgia while keeping its universal themes of teenage desire, guilt, and self-discovery at the forefront. It delivers its message with humor, tenderness, and a striking honesty that makes it resonate well beyond the Catholic school halls it portrays.

Natalia Dyer, best known for her role in Stranger Things, plays Alice, a sweet, shy, and sheltered Catholic high school student trying to navigate the confusing terrain of adolescence. The story begins with Alice discovering her sexual urges through an unexpected source—an online chat room—and quickly spirals into her journey of balancing these new feelings with the strict Catholic doctrine that surrounds her. The entire narrative is set against the backdrop of a religious retreat called “Kirkos,” where Alice is faced with the challenge of reconciling her newfound desires with the community’s dogmatic beliefs.

One of the film’s greatest strengths is its ability to balance humour with genuine empathy. Alice’s awkwardness is deeply relatable, yet the film never mocks her. Instead, Karen Maine crafts a nuanced portrait of a young woman fumbling through her early sexual experiences, weighed down by the guilt and shame that is so often instilled in religious environments. The movie walks the fine line between being an honest critique of how religion often fails to foster healthy conversations around sexuality and being a celebration of the journey toward self-acceptance.

Dyer delivers a quietly compelling performance. Her Alice is far from the usual precocious teen protagonist. She’s innocent without being naïve, curious without being reckless. Her portrayal of youthful confusion, combined with the film’s sharp writing, feels both earnest and familiar. Supporting characters, particularly Timothy Simons as the hypocritical Father Murphy and Francesca Reale as the seemingly pious friend Laura, help flesh out the film’s central conflict: the tension between what we are taught to believe and what we actually feel.

At a brisk 78 minutes, “Yes, God, Yes” doesn’t overstay its welcome. It may not delve as deeply into some of its heavier themes, such as religious hypocrisy and the complexities of sexual repression, but it’s this restraint that helps maintain its light-hearted, accessible tone. The film thrives on the small, intimate moments of realization, and it captures the inner workings of teenage confusion with both wit and tenderness.

While it may not reach the profound emotional heights of other coming-of-age films, Yes, God, Yes is a charming and thought-provoking entry into the genre. It provides a gentle yet insightful commentary on the often messy intersection of faith and sexuality, all while never losing its humour. For those who appreciate a nuanced, witty take on adolescence, this is a delightful watch that earns its place among the better coming-of-age tales in recent years.

https://www.youtube.com/watch?v=YNqnUv7uY_A

IMDB