The Diary of a Teenage Girl


Action / Drama / Romance

Rotten Tomatoes Critics - Certified Fresh 94%
Rotten Tomatoes Audience - Upright 80%
IMDb Rating 6.9 10 22675


Uploaded By: LINUS
Downloaded 90,495 times
January 02, 2015 at 07:59 PM


Kristen Wiig as Charlotte
Margarita Levieva as Tabatha
720p 1080p
756.18 MB
23.976 fps
1hr 42 min
P/S 8 / 28
1.56 GB
23.976 fps
1hr 42 min
P/S 4 / 16

Movie Reviews

Reviewed by Jody K 10 / 10

The Diary of a Teenage Girl is a Must-See movie!

I saw the movie that at the New Directors/New Films film festival in New York in March 2015. I read Phoebe Gloeckner's graphic novel that the film was based on. Although I did enjoy the book, I did struggle with the characters and a lot of the things the characters were doing, but I couldn't wait to read it every night. I loved the way she told the story of a 15-year-old girl that has just started an affair with her mother's boyfriend in 1970's San Francisco.

I was drawn to read the book and see the movie because I am a huge Alexander Skarsgård fan and I love to support his films. His character, Monroe Rutherford, seemed like a total jerk in the book. Alex's take on the character was much sweeter. Sure, the content is the same, but the characters in the movie (ALL of the characters) seemed much more likable in the movie. It was hard to see why Minnie would be so into Monroe in the book, but it is quite evident in the movie. Besides Alex's handsome good looks, his Monroe is a happy-go-lucky guy that shows he has a heart. (Very caring) Not that I think that having an affair with your girlfriend's 15-year-old daughter is a good thing or appropriate, you can see how a situation like this could happen (especially in that household). The fact that he could take a character like Monroe and make him so likable, convinces me that this is his best performance to date.

Minnie is the kind of girl that loves to be touched and show affection. She is a highly talented girl that has so much going on around her, and she is receptive to take it all in. I'm happy to see the way that the director/screenplay writer Marielle Heller told her story. I had heard some people said there were cringe-worthy scenes, but I didn't feel that way.

Sure there are plenty of sex and drug scenes in the movie but they are done fairly quickly and with respect and are essential to the story. There is humor throughout and lots of animation in the style of Phoebe Gloeckner and Aline Kominsky.

As I said earlier, I didn't care for the characters in the book as much as I did in the film. Bel Powley is SUPERB as Minnie (you never do detect her natural British accent). Kristen Wiig still plays an awful mother, but you can tell she cares, but in her own way. Christopher Meloni was a caring and humorous ex-step-father. I also enjoyed Madeleine Waters as Kimmie and Margarita Levieva as Tabatha which were two of the characters I particularly didn't like in the book.

Marielle's take on the book was superb. This was a passion project for her and it shows. I hope to see more of her work in the future.

Brandon Trost won the Cinematography award at Sundance and you will see why. It just doesn't feel like any other movie I have seen. It is such a stand-out film.

THE DIARY OF A TEENAGE GIRL was an excellent movie and I cannot wait to see it again and again. I hope it has a soundtrack because I definitely want to buy it. It may not be suitable to see with the family, but definitely grab your best friend and go!

Reviewed by maurice yacowar 8 / 10

teenage girl discovers her sexual and creative power -- and their danger

You don't have to be or remember being or know or parent a teenage girl to find yourself addressed by The Diary of a Teenage Girl. Its broader theme is the danger of power, especially the sexual license which the setting — San Francisco, 1976 — emblematizes.

Young Minnie discovers both her sexual and her creative power as she's deflowered by her mother's boyfriend Monroe and draws cartoons in the style of (R Crumb's wife) Aline Kominsky. (Monroe, by the way, may be a studly ballooning of Jules Feiffer's nebbish hero of the time, as Minnie proves a long way away from the cartoon style of Mickey and his gal.) The animation scenes show her living in a state of heightened awareness, life bursting out and into art. Both endeavours prove dangerous. Her affair threatens her mother's shaky security and her art-work can strike the conventional (e.g., Monroe) as freaky as her exuberant sex strikes a younger lover. Her other creative enterprise, tape recording her confessions, blows up the scene. Art and sex are avenues of self-discovery and self-realization — dangerous. Both are life-affirming but both herald the frightening responsibilities of adulthood.

Minnie is obviously the film's central subject and consciousness. Self-conscious about her physical imperfections, she succumbs to her mother's and Monroe's invitations to assert her sexuality. Full credit to Bel Powley for an astonishing, shameless and vanity-free presentation.

But the other women are significant too. There's Minnie's "white trash — but in a good way" best friend, in whom she entrusts teen confidences but who steals a bout with Monroe herself.

There's the lesbian lurking in the bush who seduces Minnie only to exploit her for her own purposes. So you don't have to be a man to exploit a trusting young girl — though Monroe demonstrates how swaggering manhood and convenient access are a huge advantage. Monroe's casual predation shows how his power can destroy him too. He knows he shouldn't do what he does and he knows Minnie is manipulating him but he can't control himself. He even drifts into Charlotte's silly web to resolve the issue: Monroe must marry Minnie. He's too easily satisfied even to realize his own small dream of a mail-order vitamin empire. Remote infusions define him. The fact that he lets himself be seduced by young Minnie shows him victim of his own passivity, a character wholly without character.

But the two other key characters are Minnie's mother and younger sister. Charlotte was a highschool beauty, is still as beautiful and enchanting as Kristen Wiig, surrounded by lusting lovers — and is paralyzed by that former power. She desperately clings to romance because she feels she has lost her sexual appeal and beauty. As her egotistical ex-husband Pascal insensitively declares, she can't run her own life. We watch her drift from one stupor to the next, abandoning Minnie to Monroe and latenite TV, eventually being fired from her library job. Only the fear that her anger may have driven Minnie to suicide sobers her up sufficiently to embrace her prodigal daughter. At the end, though, Charlotte is still "seeing" Monroe, unable to escape her enslavement to her sexual liberty with him. "We can never talk about it," she instructs Minnie, but she can't leave the man who humiliated her either.

Kid sister Gretel shows more hope. Without either her beautiful mother's or her plainer sister's looks she has to find another path to mature self-respect. With her mother's shallowness as one model, she finds a preferable one in the new Minnie. From her she learns that she doesn't need a man or a relationship for self-respect. The two sisters used to fight and swap bitter notes but at the end they frolic together, with an exuberance that bonds them as women, as sisters.

Reviewed by calvintoronto 1 / 10

Incredibly poor adaptation of a superior novel

What is a masterwork -- Phoebe Gloeckner's graphic novel hybrid -- that roundly condemns patriarchal privilege and the exploitation of young women and girls, here turns into a very careful take on a young's girl's exploration of her sexuality that is rote, unenlightening, devoid of any feeling, and ultimately uninteresting.

Certainly, film versions of novels are different beasts, and I suppose one shouldn't expect faithfulness to the original. But this movie loses its way in that it can't really deal with the subject of exploitation and so, being careful not to veer into said exploitation, makes sure that the subject of sex is as non-erotic as possible.

You can't really tell if Minnie has lost her way, or if she is confused, or full of contradictory emotions, or just a mopey teen. She *appears* to be all these things -- but the tonal flatness of the entire enterprise results in a portrait of a young girl you could not care less about.

Bel Powley's wide-eyed and round-faced blandness fails to convey any complex emotions. Sure, she cries and she gets angry...but to what end? Since the film is so flat, the crises and shocks depicted (having sex with Munroe, doing drugs, hooking up with Tabitha, being "bold" about want to "f**k f**k f**k") are about as interesting as having a big mac. Minnie's final thought about Munroe -- "I'm better than you, you son of a bitch" -- is supposed to gather together, for Minnie and for the reader/viewer, what Minnie has learnt, in overcoming the overweening pretentiousness of men like Munroe. But the knowing smile of Minnie in the graphic novel is replaced by Powley looking half-stupid, to no end.

The film replaces the novel's near-catharsis with some pithy bromides about Minnie, supposedly wiser now, saying she doesn't need a man and intimating that you need to love yourself first. Yeah, another 15-year-old wise beyond her years.

The final insult is that Minnie dances in that kooky, indie way, that is so contemporary, like girls dancing to Feist's 2007 "1234." Girls and women didn't dance like that in 1976. (I know; I was there.)

Better luck next time.

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