Growing up is a mess. Most "coming-of-age" films try to polish that mess into something nostalgic and sweet, but The Edge of Seventeen movie decided to do something different. It chose to be awkward. Extremely awkward. Honestly, if you watched this film and didn't feel a physical cringey phantom pain in your chest during the "texting" scene, you might be a robot.
Released in 2016, this wasn't just another teen flick. It felt like a direct attack on the curated, Instagram-filtered version of adolescence we usually see on screen. It’s been about a decade since Hailee Steinfeld’s Nadine Franklin first stomped across the screen in that blue vintage jacket, and yet, the movie’s grip on the cultural zeitgeist hasn't loosened. It’s actually gotten tighter.
The Anti-Hero We Actually Needed
Nadine is a nightmare. Let’s be real. She’s self-absorbed, she’s dramatic, and she treats her mother like a personal punching bag. But that’s exactly why the film works. Writer and director Kelly Fremon Craig—who later brought Are You There God? It’s Me, Margaret to the screen—knew that a "likable" protagonist is often a boring one. Nadine is a raw nerve.
Most movies about teenagers focus on the external "big events"—prom, losing virginity, getting into Harvard. While those elements exist here, the real conflict is internal. It’s the crushing weight of feeling like the "extra" person in your own life. When Nadine’s best friend, Krista (played by Haley Lu Richardson), starts dating Nadine’s perfect older brother, Darian (Blake Jenner), it isn’t just a betrayal of "girl code." For Nadine, it’s the collapse of her only safety net.
Hailee Steinfeld’s performance here is nothing short of a masterclass. She was 19 when they filmed this, and she captures that specific brand of teenage ego where you think your problems are the first of their kind in human history. She’s funny, she’s mean, and she’s desperately lonely. It’s a hard tightrope to walk, but she nails it.
Why Woody Harrelson is the Secret Weapon
If Nadine is the engine of the film, Mr. Bruner is the oil that keeps it from overheating. Woody Harrelson plays Nadine’s history teacher with a dry, cynical wit that serves as the perfect foil to her high-octane emotional outbursts.
Their relationship is fascinating because it defies the "inspirational teacher" trope. Mr. Bruner isn't John Keating from Dead Poets Society. He doesn't stand on desks. He mostly just eats his lunch and mocks Nadine’s dramatic proclamations of self-loathing.
"You're a very special person, Nadine. You're a very special person who's going to do great things... just not in my classroom."
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The chemistry between Steinfeld and Harrelson was largely fueled by improvisation. According to behind-the-scenes interviews, many of their biting back-and-forth exchanges were polished or expanded on the day of filming. Harrelson brings a groundedness to the movie. He represents the adult world—not as an enemy, but as a group of people who are also just trying to get through the day without losing their minds. When the film finally reveals a glimpse of his actual life, it’s a quiet, humbling moment for Nadine. It’s the first time she realizes that other people have lives that exist when she’s not looking at them.
The Horror of the "Sent" Button
We have to talk about the message. You know the one. The accidental, horrific, sexually explicit-but-actually-just-sad Facebook message Nadine sends to her crush, Nick Mossman.
In the digital age, horror isn't always a guy in a mask. Sometimes it’s a "read" receipt. The Edge of Seventeen movie captures digital anxiety better than almost any film of the 2010s. It understands that for a teenager, a social media blunder feels like a death sentence. The scene where she dictates the message to Mr. Bruner is legendary because it balances the comedy of her absurdity with the genuine, stomach-turning dread of social suicide.
Nick, played by Alexander Calvert, is an interesting character because he’s essentially a "nothing." He’s a blank canvas that Nadine has projected her fantasies onto. He’s the "bad boy" who works at the pet store, and the film brilliantly subverts our expectations of that romance. It doesn't end with a kiss in the rain. It ends in a parked car with a realization that "cool" guys can be remarkably boring—or worse, predatory.
Breaking Down the "Perfect" Brother Trope
Darian Franklin could have easily been a one-dimensional antagonist. The "jock" brother who has everything. But the film’s climax, where Darian finally snaps and tells Nadine how hard it is to be the "stable" one, is the emotional heart of the story.
Kyra Sedgwick, playing their mother Mona, does an incredible job portraying a woman who is drowning in her own grief and mid-life crisis. The Franklin family is broken. They lost the father—the only person who really "got" Nadine—years prior, and the movie shows how grief doesn't just disappear. It mutates. Darian took on the role of the father, Mona took on the role of the mess, and Nadine took on the role of the victim.
It’s a messy family dynamic that feels lived-in. When Darian explains that he doesn't have the luxury of "falling apart" because he has to keep the house running, it shifts the entire perspective of the movie. Suddenly, Nadine isn't the only one suffering.
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Why the 2016 Context Matters
- The Soundtrack: It featured a mix of Santigold, The 1975, and Anderson .Paak, grounding it in a specific era of "alternative-pop" culture.
- The Fashion: Nadine’s style—the mismatched colors, the 70s-inspired jackets—became a shorthand for the "indie-sleaze" revival of the mid-2010s.
- The Dialogue: Kelly Fremon Craig spent months interviewing teenagers to get the slang and the cadence right. It doesn't sound like a 40-year-old trying to sound "hip." It sounds like actual kids.
Erwin Kim and the "Nice Guy" Subversion
Then there’s Erwin. Hayden Szeto’s performance as Erwin Kim is arguably the best part of the movie. He’s awkward, he’s wealthy, he’s obsessed with animation, and he’s clearly head-over-heels for Nadine.
But the movie doesn't treat him as a consolation prize. Their "romance" is fumbling and weird. The scene at the pool—where he tries to talk to her while she’s basically ignoring him—is painful to watch. Yet, Erwin represents the possibility of a life outside of Nadine’s self-imposed misery. He’s a "dork," sure, but he’s a dork with a passion. He has a hobby. He has a personality.
The growth in the movie isn't Nadine finding a boyfriend. It’s Nadine realizing that someone like Erwin is actually worth her time. It’s a subtle shift from wanting to be validated by the "cool" guy to wanting to be seen by the "right" guy.
The Legacy of the Film in 2026
Why are we still talking about a teen movie from a decade ago? Because The Edge of Seventeen movie was a precursor to the "unfiltered" era of cinema. Without Nadine, do we get Lady Bird? Do we get Eighth Grade? Maybe, but this film paved the way by proving that teenage girls can be "unlikable" and still be deeply sympathetic.
The film deals with heavy themes—suicidal ideation, parental neglect, sexual coercion—but it never feels like a "movie of the week." It keeps its feet on the ground. It knows that most of life isn't a grand tragedy; it's a series of small, embarrassing moments that eventually add up to a person.
Interestingly, there was a pilot for a TV series based on the movie that never quite made it to air in the way fans expected. It’s probably for the best. Some stories are lightning in a bottle. The chemistry between this specific cast and Craig’s direction created something that stands alone.
Actionable Takeaways for Movie Lovers
If you're revisiting the film or watching it for the first time, here is how to get the most out of the experience:
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- Watch for the Background Details: The production design in Nadine’s room is incredibly detailed. It’s a chaotic reflection of her mental state, filled with clutter and "identity" pieces that she uses to shield herself from the world.
- Compare it to "Lady Bird": If you enjoy the mother-daughter friction in The Edge of Seventeen, watch Greta Gerwig’s Lady Bird immediately after. Both films explore the idea that "attention is a form of love," and the parallels in how they handle female teenage rage are fascinating.
- Pay Attention to the Score: Atli Örvarsson’s score is underrated. It’s subtle, but it ramps up the tension during Nadine’s more manic moments without being overbearing.
- Check Out the Director’s Other Work: If you haven't seen Are You There God? It’s Me, Margaret, go watch it. It’s a spiritual successor in terms of how it treats the inner lives of young women with total respect and zero condescension.
Ultimately, the movie reminds us that 17 is just an age, not a permanent state of being. You eventually grow out of the blue jacket, you stop sending the cringe texts (mostly), and you realize your teacher is a human being. But the feeling of being on the "edge" never really goes away entirely—it just gets easier to manage.
The film remains a staple of modern cinema because it refuses to lie to its audience. It tells you that you’re going to be okay, but it also admits that, for right now, things kind of suck. And sometimes, that’s exactly what you need to hear.
How to Watch
You can currently find the film on most major streaming platforms like Netflix or Amazon Prime, depending on your region. It’s one of those rare movies that actually gets better with a rewatch because once you aren't stressed about Nadine’s social life, you can appreciate the wit of the script.
If you're looking for a double feature, pair this with Booksmart or The Breakfast Club. It fits perfectly into that lineage of films that define what it means to be young, lost, and loud.
Don't just watch it for the laughs. Watch it for the moments where Nadine is silent. That's where the real story is.
Next Steps:
- Analyze the Script: For aspiring writers, download the screenplay of The Edge of Seventeen. It is a masterclass in "Voice"—notice how Nadine’s dialogue differs from Darian’s or Mr. Bruner’s.
- Host a 2010s Coming-of-Age Marathon: Curate a list including Eighth Grade, Lady Bird, and The Edge of Seventeen to see how the genre evolved over a five-year span.
- Research Kelly Fremon Craig’s Process: Look up her interviews on the "Blue Carpet" or "Awards Season" circuit from 2016-2017 to understand how she channeled her own teenage experiences into the character of Nadine.