Bertrand Bonello’s Coma is a film that, duh, has a personal, subjective view of the COVID 19 pandemic, and depending on who you ask, we either had a little or a lot during those first two years. We had our dreams, our rooms, Zoom meetings where we make admissions just in case it’s our last chance to do so. And we also tried to articulate what the pandemic took from us and found ways of getting them back. The film filters these complex emotions through a presumably middle class French female Adolescent (Louise Labèque). In isolation, the Adolescent’s closest relationship is the one she has with a Youtuber, Patricia Coma (Julia Faure). Patricia expectedly shows up on her dreams, as well as Tess (Ninon François) and another strange woman in the woods (Bonnie Banane).

One can joke that a title like Coma may end up reflecting one’s experience while watching this genre hybrid. Equal parts drama and fantasy, it’s a departure from Bonnello’s previous work although he does like to mix up his approach. The Pornographer whips its viewers with its tonal shifts while Nocturama was more conventional, both films depicting different youth movements. Back to this film, he’s not the first to depict a closet drama but it’s still a risk he takes. How can filming a young woman in her room be interesting, and will slapping different genres and styles make it work? Aside from dream sequences and Zoom meetings, he also adds animation sequences too.

Unlike Bertrand Bonello’s previous films, Coma‘s avant garde approach is disorienting and yet surprisingly, it delights. Many films try to capture teen culture and enough of them succeed just like it does – sure, it’s not going to get everything but all it has to do is to get something right. On the surface it depicts the cringey part of teen girl culture where they don’t take things seriously. I was going to point out the killer talk, but then again I’m a true crime fan too. Its deeper assessment comes out during repeat viewers when one of Adolescent and Tess’ friends points something out. “With Zoom, no one knows who’s watching who” is that friend understands a new, generational visual language. I’m sure he’s not the first to point this out but it makes for an interesting fourth wall break.

I am someone who dislikes young people and Coma reframes them even from the stereotypes that bore even me, stereotypes like them being lazy, playing their stupid games. They consume culture instead of contributing to it like previous generations do. But during the animation sequences, a man tells the Adolescent that “I gave birth to the 21st century”. The Adolescent claps back and says “No, the 21st century is really mine”, with a cold, defiant voice. That voice within the context of this film at large is one that yearns for freedom, carefully expressed. Thankfully, it’s not that kind of freedom, but it’s one that youth like her are still looking for. History can only tell what future generations will do but films like this excite me and give hope.

Watch Coma on MUBI.