Written and Directed by Molly McGlynn
Starring Maddie Ziegler, Emily Hampshire, & Ki Griffin
Rated R
Runtime: 105 minutes
On digital September 9

by Avery Coffey, Staff Writer 

What truly defines womanhood? How do we conceptualize gender in today's evolving society? These questions have been at the forefront of my mind through my own queer identity, leading me to challenge traditional binary notions. While filmmaker Molly McGlynn doesn't claim to have definitive answers, her dramedy Fitting In serves as a poignant catalyst, gently guiding viewers on a deeply personal journey of self-reflection and discovery.

The film, which was initially titled Bloody Hell (incredibly fitting might I add), centers around Lindy (Maddie Ziegler), a 16-year-old girl who has a natural curiosity for sex. She’s unsure of herself in the same way that I remember my own teenage experience. Early school mornings were spent shaving my legs in a rush (many band aids were used), picking at my skin, and planning conversations before they happened. Lindy's world is turned upside down when she receives a diagnosis of Mayer-Rokitansky-Küster-Hauser (MRKH) syndrome, a rare reproductive condition that affects approximately 1 in 5000 women. It's a subject close to McGlynn's heart and a narrative straight from her memory. What begins as a seemingly conventional coming-of-age story takes an unexpected detour, mirroring the abrupt way in which this diagnosis disrupted and redefined her own adolescence.

The film's exploration of MRKH syndrome not only sheds light on a little-known medical condition but also serves as a powerful metaphor for the broader themes of identity. It approaches the subject tenderly: growing into ones’ womanhood and what it means to inhabit a body that doesn't conform to societal norms. Through Lindy's journey, viewers are challenged to contemplate their own preconceptions about gender and sexuality. 

Like Plan B (dir. Natalie Morales, 2021), Booksmart (dir. Olivia Wilde, 2019), and The Edge of Seventeen (dir. Kelly Fremon Craig, 2016), this holds a sincerity that will make audiences fall in love. It shares the same anatomy with these teen dramas and their focus on sexuality. However, it sets itself apart when it detaches itself from the binary lens. Granted, modern teen flicks center more of a feminist sentiment: differing from those we grew up loving in the late 90s and early 00s. Fitting In goes the mile with it and demonstrates the nuances of championing for women. Women are consistently pit against one another, and it’s usually because of men. Whether it’s the standards we try to live up to or pining for the attention of a man (thank god for lesbianism), feminism goes beyond the voting booth. A skin-deep theme that dances in the background of McGlynn’s narrative is the importance of AFAB (assigned female at birth) relationships. 

Lindy meets Jax (played by Ki Griffin): an AFAB non-binary intersex person. Despite hiding this secret and fearing the repercussions of her peers knowing, she’s able to turn to Jax for consolation. Their relationship proves to be necessary in the value that it brings to Lindy’s growing acceptance of her condition. If ever there is a time that she feels alone, her mom empathizes with her after her mastectomy. The conversations Lindy has with her mother, Jax, and, eventually, a woman medical professional deliver important talking points on intersexuality, the medicalization of femininity, and the nuance of gender-affirming care.

This film finds a way to my heart quickly. The opening sets a tone similar to Sofia Coppola’s approach and even quotes Karyn Kusama’s Jennifer’s Body (2009). As much as Lindy’s love interest, Adam (played by D’Pharaoh Woon-A-Tai), annoyed me, he shows her Ginger Snaps during one of their dates and I can’t deny someone with excellent taste. It has all of the quintessential cringey characteristics of a teen movie: including the climatic “big speech”. I adored the authentically comical tone which wasn’t dependent on the writing as it was the performances and the choice of delivery. An element that stands out to me the most is the way that the production uses the song “Barbie Girl” by Aqua in an unexpected way. Imagine the way you perceive “I Got Five On It” by Luniz after the way it was used in Jordan Peele’s Us (2019). You truly can never hear it the same.