Review of Phuong Mai Nguyen's In Waves

In Waves, directed by Phuong Mai Nguyen, premiered on May 13th as the opening film of Cannes Critics Week (Semaine de la Critique). Adapted from AJ Dingo’s 2019 graphic novel of the same name, In Waves is a tearjerking love story between shy AJ, an artist and skater, and confidant Kristen, a fearless surfer, a love that is struck by tragedy when Kristen is suddenly diagnosed with illness. Moana meets The Fault in Our Stars, set under a Southern California sky, in an animated film where each frame is a watercolor painting. 

To read the synopsis, CLICK HERE.

In an interview with Variety, Nguyen expressed that “before making this film, I didn’t have much of a connection with surfing or skating,” yet had a desire to make the water into a character in and of itself in the film. And she did just that; the ocean serves as a driving force in the narrative, a paradoxical metaphor for life. At times, it is liberating, a glimpse into the freedom of what the future could hold for the young lovers; at other times, it encompasses and entraps, making AJ, the main character, feel as though he is drowning. The ocean is something that overwhelms, yet an entity in which one can feel safe, such as when the two teenagers float in the surf together, tranquil. Overall, the “Waves” in question serve as a fragile metaphor of what it means for the future to be uncertain; the excitement of new love, or a looming worry of things taking a turn for the worse. We can either ride the crest of the waves, or drown in a rip current. Yet, ultimately, Nguyen creates a picture of resilience through all the waves of life. 

Another aspect worthy of noting is the setting: Southern California. If you, like me, are a SoCal native, I highly recommend this film for the feeling of nostalgia alone. The pier of Huntington beach, the California suburbs, the LA skyline - these are all clearly recognizable for anyone who has lived in these places, and moreover are captured in a romanticized, idyllic fashion.  

Though it is clear how Nguyen strived to shape her characters and setting, what remains unclear to me is the audience that she was trying to capture. The fact of this movie being an animated film nods to a story that would be digestible for younger audiences, especially considering the lack of sexual content, yet the message of young love leans more towards young adults. However, an unexpected string of cuss words in a particularly shocking scene renders this otherwise fairly innocent film inappropriate for younger audiences, and is generally just a jarring tonal shift. Time will tell which audience gravitates towards this film, but for me, I remain touched by the narrative. 

All the same, this film is certainly a tearjerker. The exhilaration of being in the water mirrors the joys of being in youthful love, so when the crest of the wave comes crashing down, the audience certainly feels it. 

Though Nguyen may not know how to surf, she is certainly riding the wave of the success of her first feature.