The outstanding lead performance of Vaughan Murrae and their fellow teen co-stars makes Before I Change My Mind a fascinating, hilarious and thoughtful exploration of early teenage experiences. Before I Change My Mind is currently awaiting a release date in the UK.
The year is 1987, and the place is Alberta, Canada. For Robin (Vaughan Murrae), their first day at a brand-new school is full of dread, for Robin knows that the first question they will be asked is, “Are you a boy or a girl?” Robin defies simple gender labels, and their appearance immediately attracts the attention and curiosity of Carter (Dominic Lippa), a boy who spends most of his time getting into or causing trouble. But while Carter’s interest may initially come with a sharp tongue, Robin is equally curious about him.
Meanwhile, the girls surrounding Robin find them impossible to pigeonhole, much to their frustration, but one, Izzy (Lacey Oake), sees an opportunity for experimentation. However, Izzy has also caught Carter’s eye, and an uneasy early teenage love triangle soon develops, one that is less about gender or sexuality and more about a simple question: “Who am I?”
Anyone expecting a serious drama from Canadian director Trevor Anderson should immediately head for the exit because Before I Change My Mind is hilarious and one of the most unique coming-of-age comedies of recent years. Here, we are offered 80s clichés by the truckload, a delightfully nuts school musical called ‘Mary Magdalene: Video Star,’ a Madonna-obsessed drag queen, and adults who are just as unsure about the world as the kids in their care.
Before I Change My Mind is a highly accomplished, low-budget comedy that regularly pays homage to the work of John Hughes, Todd Solondz, Greta Gerwig, and Amy Heckerling, while also finding its own unique comedic voice. But underneath the laughs, Anderson’s film offers us so much more.
Historically, the coming-of-age genre has been defined by gender, with male journeys featured in films ranging from Stand By Me to Catholic Boys, and female stories showcased in movies such as Now and Then and Booksmart. However, Anderson never mentions Robin’s pronouns or discusses how Robin wishes to identify. Robin is just Robin.
Equally, there are no direct discussions on sexuality using pre-determined social labels. In Anderson’s world, we are presented with a group of young people discovering their likes, dislikes, emotions, and desires without ever needing to label themselves. Here, Anderson reflects on a brief moment during the coming-of-age process when kids are free from social labels and pressures.
This brief yet joyous moment often occurs at the start of adolescence, during the transitional period between childhood and teenage years, when experimentation is typically free from guilt and adult interference. Anderson explores the slow erosion of that freedom through the journey of Robin, Carter, and Izzy. However, it’s also here where Before I Change My Mind occasionally stumbles.
Anderson never quite manages to fully explore the emerging personal and social pressures surrounding Robin, Carter and Izzy as childhood morphs into adolescence. Carter’s character, played brilliantly by Lippa, particularly suffers, as we are left with a rather one-dimensional portrayal of a troubled boy slowly spiralling out of control.
Meanwhile, the final scenes with Robin feel rushed and slightly confused as they begin to unpick the emotions attached to their relationships with Izzy and Carter. However, considering the low budget of Anderson’s movie and the need to improvise to get it over the finish line, it’s no wonder Before I Change My Mind occasionally stumbles. The big question is, do these stumbles distract from Anderson’s hilarious and often artistically brave gender-free coming-of-age tale? While Anderson’s movie needed a bit more time to fully embrace the journey of Robin, Carter and Izzy, Before I Change My Mind is a Canadian coming-of-age gem.
The outstanding lead performance of Vaughan Murrae and their fellow teen co-stars makes Before I Change My Mind a fascinating, hilarious and thoughtful exploration of early teenage experiences. As the credits roll, I guarantee you won’t want to leave ’80s Alberta or the lovingly crafted characters Anderson creates. But you will be equally thankful for the joyous 1 hour and 29 minutes spent in a teenage world where labels are for packaging, not people.
Follow Us