While I have only seen a few other films from writer-director Gregg Araki, that has been enough for me to recognise him as an important figure in the world of queer cinema, as well as a very talented individual. There are often surreal moments in his films, they are not without humour, and the general attitude is often a mixture of defiance and nihilism.
Totally F***ed Up may not have every one of those key identifiers, but it's a drama with occasional moments of humour, and the general attitude is absolutely a mixture of defiance and nihilism. It looks at a group of LGBTQ+ teens living in Los Angeles, exploring their hopes, doubts, development, and experiences. Andy (James Duval) feels like the focal point, especially before the end credits roll, but the rest of the group is comprised of Steven (Gilbert Luna), documenting the lives of his friends, Deric (Lance May), Tommy (Roko Belic), and Michele and Patricia (played by Susan Behshid and Jenee Gill, respectively).
While it has undoubtedly dated in a number of ways, from the lo-fi and crude shooting style (the whole thing made possible by a lot of camcorder use that allowed Araki to work quickly and cheaply, especially when filming without permits), Totally F***ed Up remains a sharp, funny, and insightful work. There are moments that feel a bit pretentious, as happens in most Araki films, but it's easier to accept such pretentiousness from characters you easily believe could wander into that territory. There are many more moments that feel very smart and funny (the caption "Tom Cruise: Rock Hudson of the '90s" is worth the price of admission alone), and most of the scenes, although stylised and feeling very much performed by people who know they're putting on a performance, manage to feel as if they've been developed around a solid core of weighty truth.
Duval is the best actor onscreen here, making it no surprise that he's the one who would go on to have a fairly substantial career (both with and without Araki), but there are choices made throughout that stop anyone from doing as well as possible. The film uses the interwining narrative strands to make a series of statements, often non sequiturs that would be in line with things blurted out during a busy conversation between teens trying to empower themselves against a world that feels increasingly dangerous and threatening as they hurtle towards full adulthood, and it's only Behshid and Gill who come close to Duval, thanks to the lines given to them and their entertaining delivery.
I view this as the least of Araki's films, from those I have seen so far, but that doesn't make it a bad film. Looking at the start of his filmography, it's impressive just how fully-formed he seemed at the start of his career. If you have that context, and if you have at least some experience of what Araki does, then this is an interesting and rewarding watch. If you don't, I would recommend starting elsewhere, at least until you find out whether or not you can get on his wavelength.
7/10
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