The pain and awkwardness of transitioning from child to teen is difficult enough all on its own, without any extra challenges. Now imagine you’ve got an electrical collar around your neck that can only come off once you’ve had your first kiss, signaling to everyone around you whether or not you’ve reached this milestone. AND your name is Wyrm. This is the first layer of concept in Christopher Winterbauer’s film of the same name, but it is an onion of a story that delivers many more layers of surprising complexity and charm.

Wyrm (Theo Taplitz) is entering his first year of High School alongside his twin sister, Myrcella (Azure Brandi) amidst several major shake-ups in his home life. Their older brother, Dylan, was recently killed in an accident, and the repercussions from that event are far-reaching and multi faceted. Their parents have become completely aloof – mom is on a supposed 1,000 trek somewhere in the mountains, and dad has sequestered himself to one room, shut off entirely from the outside world. The only people to look after them are their goofy but well-meaning Uncle Chet (Tommy Dewey) and his Spanish speaking girlfriend, Flor (Natalia Abelleyra).

And then there’s that collar. Wyrm is set in alternate reality of the early 90’s, where schools mandate and encourage physical and sexual relationships under the guise that those who are lonely and alone end up at higher risk for criminal activity. It’s a bold and interesting concept, and is what the film bases its core around, giving us enough expositional guidance early on to grasp the warped reality of this world. 

That alone would be a compelling plot device that could carry a movie down several dark and philosophical paths, and while Wyrm does find moments to explore those, it goes far deeper than expected for such a quirky little story. This is an in-depth look at grief, how people handle it differently, and the ripple effect that comes from both of those. 

The cast of characters, both supporting and main, are all portrayed with such aching authenticity that it feels more like a voyeuristic peek into real life than it does complete fiction. Both Taplitz and Brandi really tap into the painful gawkiness of nerdy adolescents with cringeworthy precision, with Dewey as the affable tension breaker.

There’s plenty of eccentric, drawn-out scenes that are designed to make you endure the same kind of discomfort felt in films such as Napoleon Dynamite and Juno, where you can’t help but laugh through the absurdity. Just when you think you have it penned as a dry satire piece, it pulls the rug out by hitting you with scenes of profound, heartfelt, emotional authenticity. 

They’re the kind of scenes that leave you breathless, where the magic that’s happening between characters on screen is so beautifully woven, and the pain they are feeling is so real, it renders you completely transfixed. The majority of these involve Taplitz, whose talent can not be understated, and it would be a crime to not see this young rising star for years to come. One moment in particular between him and Sosie Bacon (who proves talent runs in the family, as her acting prowess is undeniable) is so heartbreakingly beautiful, the weight of it is felt for the remainder of the film.

Winterbauer has managed to piece together a true gem in Wyrm, with a plentiful concoction of wit, charm, quirkiness, and sentiment that truly deserves to be experienced by all. 

10 out of 10