The narrative follows Jem Starling (Eliza Scanlen) as she makes her way through life in a small Kentucky Christian community. Jem discovers life to be more difficult as she struggles between her greatest joy, the church dancing group, and a developing realisation of her own sexuality. Jem's mother Heidi (Wrenn Schmidt) will soon encourage her to start courting family friend Ben Taylor in order to get ready to be a subservient wife (Austin Abrams). But in the midst of all the chaos, Jem turns to her youth pastor Owen Taylor (Lewis Pullman) for solace and starts an illicit relationship with him. Jem struggles with what to do next as the feelings of humiliation and remorse start to consume her. She turns to god in prayer for answers.

The Starling girl is the kind of movie that would instantly elicit anxiety and disgust from viewers based only on its subject. There is a conservative religious group that restricts women to becoming just wives and childbearers. Furthermore, the plot revolves around an unsuitable relationship between a young girl and an older guy while the lead female character experiences a sexual awakening. However, Parmet creates a very sensitive presentation of self-discovery amid the investigation of these painful issues. She carefully crafts her script since she is aware that abuse can occur in a relationship with unequal power dynamics and that young women can explore their sexuality with confidence and autonomy.

The Starling girl has a story that is morally complex, but its characters are also complex and deserving of careful examination. As Jem, Scanlen stands out from the rest of the actors and delivers a strong performance, evoking a range of emotions including remorse, joy, shame, and grief. If a character could tell you everything you need to know just by looking at them, Scanlen's expressions provide a wealth of insights into Jem's intriguing universe. She masterfully controls the camera in her part, establishing herself as one of the most talented young actors of her time.

The sensitive coming-of-age tale by Parmet is a soft demonstration of the potential risks associated with organised religion that is focused on patriarchal ideals. The subject of self-discovery as it relates to an enticing but unsuitable relationship is examined in Parmet's script. The Starling girl strikes a nice mix between pain and tact when analysing Jem's rash but brave attempt at sexual and mental liberty. It succeeds in doing what so many of its contemporaries fail to do: It acknowledges that sexual exploitation/abuse and agency are not mutually contradictory.

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