Yes, God, Yes

"Yes, God, Yes" is an American coming-of-age drama-comedy film that was released in 2019, directed by Karen Maine in her directorial debut. The movie is based on Maine's own experiences growing up Catholic. Centered in the early 2000s, the film stars Natalia Dyer, Timothy Simons, and Wolfgang Novogratz in pivotal roles.

Religious yet spirited, the 16-year-old main character Alice, played by Natalia Dyer (known for her role in Netflix's Stranger Things), finds herself caught in between the contradicting teachings of her conservative Catholic high school and her budding desire to explore her sexuality. The narrative follows Alice’s journey through a religious school system that stifles open discussion and creates an atmosphere of shame and guilt particularly around sex.

A high school sophomore attending a Catholic school, Alice's evolution onto the tumultuous journey of self-discovery and acceptance is kicked off when an innocent AOL chat turns unexpectedly racy. Finding herself in new and uncharted territories, Alice becomes increasingly confused and anxious about sin and her sexuality. She is overwhelmed and puzzled by the contradicting messages and the secretive nature of sexual discussions, which are implied to be sinful and worthy of condemnation.

The film further explores Alice's encounters with sexist hypocritical behavior, where conformity guarantees respect while individuality is met with reprobation. Alice is depicted as an introverted and curious soul, grappling to understand the intense moral rigidity and the confusing contradiction of her surroundings, making Dyer’s gentle performance engaging to watch.

Aiming to seek redemption from her perceived sins, Alice embarks on a four-day mysterious church retreat, which forms the centerpiece of the film. Timothy Simons plays the charismatic retreat leader, Father Murphy, whose conduct and teachings seem to blur the lines between religious righteousness and hypocrisy. Wolfgang Novogratz is casted as the handsome and popular senior, Chris, who becomes a point of interest for Alice.

"Yes, God, Yes" brilliantly uses humor to scrutinize power dynamics and magnify hypocrisy in religious contexts. While the retreat provides Alice an opportunity to reconcile her sins and find peace, it unexpectedly turns into a venue of discovery, instigating several humorous and thought-provoking scenes that often demonstrate the film's keen insight into the human condition – both spiritually and sexually.

Throughout the course of the movie, Alice undergoes a series of confusing, funny, and dramatic experiences that ultimately lead her to question the complexities of religious doctrines and societal expectations. The retreat, in turn, becomes a springboard for Alice to find her own way in her journey of self-discovery within the constraint of her religious beliefs.

What sets this film apart from the usual teen flicks is its steadfast refusal to patronize its characters or the belief system they are born into. Karen Maine's direction sets a balance between critique and empathy, yielding a nuanced representation of adolescence and the struggles accompanying it.

"Yes, God, Yes" is less about the rebellion or condemnation of religious beliefs but more about the self-discovery, the exploration of sexuality, and the understanding of personal values in the face of rigid social norms. It reflects on the confounding and often repressive ways that sex education is handled in religious programs. The film moves past the surface level of teenage angst, daring to delve into the critical aspects of hypocrisy, shame, and the paradoxical nature of power within institutions.

With its fresh take on the age-old story of growing up, self-discovery, confusion, the "Yes, God, Yes" speaks volumes about the complexities of adolescence within a religious framework, without discrediting faith. With excellent performances from the cast and a keen-eyed interpretation of a teenager's introspective journey, the movie is every bit a funny, poignant and thought-provoking cinematic experience.