SOMETIMES, FOREVER: A Dreamy Portrait Of Teenage Love

It was 10AM on a Thursday when I sat down to watch Sometimes, Forever, and I was excited. The teaser promised a dreamy exhibit of flesh and heart: an honest portrayal of burgeoning adulthood. Of course, I had to pause the screener to adjust my blinds about five seconds in (the lighting must be perfect!), but even those few opening notes had me falling in love.

Writer/director Ashley George focuses her lens on two teenagers, Aubrey and Heather, who are enamored by one other. With names aptly chosen for their ’90s style, the two embody the grungy world that surrounds them. But do not be fooled: Sometimes, Forever has more to offer than a trip into ’90s nostalgia. The queer-oriented, visually addictive short covers topics like consent, identity and trust—issues that are now more relevant than ever.

About midway through the film, the girls take a blood oath, promising to love each other “forever, no matter what.” This act reflects the teenage dream of a love that lasts a lifetime. But “forever” is shorter than they could imagine: by the end of the film, a conflict has arisen that could change their relationship in its entirety.

Focus on Touch

From the opening scene, it is clear that touch trumps talk. Heather touches her own cheek in the film’s second shot, then brushes her lips against Aubrey’s photo mounted on her wall. This presence of touch in Sometimes, Forever can go in one of two directions: the soft, reassuring embrace embodied by the feminine entities of the film, or the cold, almost desperate, touch of the masculine.

Aubrey receives gentle hugs from her fellow cheerleaders, shot in quiet close up. Heather and Aubrey kiss and laugh in the bathroom. But when Nico pulls Aubrey into an embrace, it feels hollow and forced, like she has instantly become an object. The stark difference here is, unfortunately, astoundingly realistic, much like the rest of the film.

Slashing and Attacking the Patriarchy

When the girls arrive at their friend Nico’s house, they are offered booze and bud. “Real men can handle their liquor,” Nico’s brother, Victor, scoffs. Nico, in turn, retorts, “Real men don’t mess with other guys.”

From this brief exchange, we catch a glimpse at real-life expectations surrounding masculinity. Victor’s words imply that Nico needs to prove himself, to show that he is a man, by remaining stoic. Interestingly, Nico snaps back at Victor, challenging his own idea of masculinity (if only Nico’s supposedly righteous beliefs transferred over into his own behavior later on).

Consent is a huge issue brought up by Sometimes, Forever. Not once does Nico ask for Aubrey’s consent, and it is not until after the fact, when she admits that it was her first time, that Nico asks if it was okay that she “let him inside.” This pervasive language is all too familiar in the hook up culture of today’s world, just as it was back then.

Ms. George makes it clear that the patriarchy is a disease in itself, all too often leaving behind a trail of violated women and perplexed men in its path. Sex is the method of communication assigned to the male figure in Sometimes, Forever, while the girls communicate using, you know, words.

Visual Magic

Sometimes, Forever is certainly a sensory experience. Its moody, pale tones are reminiscent of an innocence mixed up the cotton candy cloud of adolescent mischief.

The film is led largely by montage, allowing the viewer to dive into the girls’ world through the sights and sounds while the story creeps into background. This way, the narrative feels real and unadulterated, with dialogue that could have been excerpted from real-life conversations either twenty years ago or today.

In addition to its beautiful montage sequences, Sometimes, Forever is powered by metaphor. One shot in particular sticks out in my mind: Aubrey lies in a bathtub, submerged underwater while her physical self is having sex with Nico. This one shot speaks volumes; it hints at the dissociative nature of sex, or more appropriately, of sexual assault. While Aubrey’s body exists in the present moment, her mind is elsewhere, screaming.

Conclusion

Sometimes, Forever is an important film for every generation, not just teenage floaters. It carries the message that love does not equate to sex; in fact, they can be two very disparate things (notably, the issue of sex does not even arise between the two girls, although they repeatedly express their love for each other).

We need more shorts like this during a time when making art undoubtedly doubles as an act of resistance. Film is now a medium of rebellion. We need films to teach young people what it means to love and how “forever” can change in an instant.

What other films accurately portray teenage love? Answer in the comments below!

Sometimes, Forever is scheduled to show at the East Village Queer Film Festival in NYC this August. For updates on showings and for more information, visit the short’s FB page.