‘Class of ‘07’ Is Not Just a Feminist Reimagining of a Cult Classic – Armessa Movie News

Class of ‘07 has been defined as “Lord of the Flies in cocktail dresses” and although the entire premise is surviving on an isolated land mass with only members of the same sex around, it is so much more. Released after the pandemic and filmed during the unprecedented floods in Sydney, Australia, the fitting post-apocalyptic show is essentially a millennial take on a climate change apocalypse. With a female-fronted cast and a languid comedic tone, this show flips the script on teenage girl drama and explores gender dynamics, the nuances of friendship and survival in the literal and mental sense.

What Is ‘Class of ’07’ About?

Set in Sydney, the show features former classmates that are stranded at their all-girls high school reunion, back-dropped by the surreal setting of endless water. Like any all-girls private school, everyone is at each other’s throats, everyone is wrought with distrust, and everyone is focused on survival. The opening scene sets the tone for the show, with Zoe (Emily Browning) spiraling in an almost feminist, comedic and dramatic outbreak in a parody of our favorite reality TV show, The Bachelor. The multiple storylines that deal with subjects like mental health, female friendships and bullying, all lead to climactic events like Saskia’s (Caitlin Stasey) trial, a regretful end-of-year formal and potential cannibalism. In the end, the women band together to fight off a pack of sleazy men and survival is finally at the forefront.

’Class of ‘07’ Lends Itself to the Wider Discussion on Mental Health

Although in Saksia’s storyline, there are certain Lord of the Flies elements of returning to one’s base “primal” self, there are also strong messages about trauma, mental health and healing. Saskia returns to the reunion as a reformed bully that had established her own start-up, often spouting out obnoxious textbook self-help lines that somehow sound sincere. With Amelia’s (Megan Smart) prompting, Saskia returned to her former “bitch” self to ensure they “never lost a race,” and despite it temporarily working, it also triggers her downward spiral. The show tackles Saskia’s past trauma of a problematic relationship with her teacher through the dark humor showcased in her therapy sessions with a mop. The fact that other members of the survival group simply dismiss it when they find out speaks to the isolation woven into mental health as well as the tumultuous road to healing.

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The clever yet absurd “mandatory emotional release hour” also reflects a common therapeutic technique that is often perceived as unnecessary. Yet in this case, we are able to witness the progression of optimism and acceptance of each character, but it fails to heal the inner wounds Saskia reopened. It is through extreme circumstances that allow Saskia to re-heal, although the danger of relapse is constantly referenced. The show’s irreverent but sometimes poignant approach to these serious issues evokes the balance of inanity and complexity to the path of healing. In the end, it is up to Saskia herself to work through her past and reconfigure her mental processes.

Female Unity Is Celebrated in ‘Class of ’07’

Female rivalries have been a hallmark to many films and TV shows, whether it’s in an office setting as two colleagues fight each other for a promotion, or in a chase to gain a single man’s affection. Initially, it is no different at the private school as passive-aggressive remarks are exchanged, where the quick and cutting dialogue brought us the gem, “feminism won’t power the generator, Zoe” — flawlessly encapsulating the catty attitudes between schoolgirls in the 2000s. Power struggles between women under Saskia’s regime also emerge, as Phoebe (Steph Tisdell) embodies the free market and has total control of the group’s resources, or when Genevieve (Claire Lovering) covets the only working toilet and rallies against Saskia. In this extreme apocalyptic environment, regular teenage girl drama has been hilariously dramatized, and it often compromises their resources, focus and labor.

Despite this, moments of female unity and empowerment are littered through the show, correlating with the times they have the best possible chance of survival. When Sister Becky (Debra Lawrance) reprimands them and introduces them to a way of living based on sharing and cooperation, the group doesn’t only survive, they thrive. Female unity and friendship is directly contrasted against female rivalry, allowing for the beautiful notion of “women supporting women” to shine through. We have seen the idea of a “cool girl” being explicitly dealt with in films like Gone Girl, where women who reject femininity and the company of other women are idolized. In a world where being a “girl’s girl” is finally accepted, Class of ’07 is able to fully embrace and celebrate female friendships in whatever form they take.

‘Class of ’07’ Uses Humor to Tackle the Nuances of Friendship

Friendship dynamics, challenges and their intricacies are explored in this show, and surprisingly, none of these relationships are neglected. TV shows with multiple subplots run into the danger of being underdeveloped or just entirely abandoned, but Class of ’07 remains dedicated to its thorough portrayal of female friendships in an extreme setting. Amelia and Zoe’s on-and-off friendship is at the foreground of the show; it is a bond where secrets and past misunderstandings still haunt the present. After enduring lightning shocks and a war with a possum, they reconcile on a ridiculous boat, powered by two bikes. The absurdity with which the show handles these friendships just endears us more to them, but the comedic tone also serves to almost devalue these quarrels, always encouraging friendship to win.

Similarly, a comic portrayal of the token stoners and their lovable friendship approaches more serious issues of sobriety and codependency. As Tegan (Berne van Tiel) expresses her desires to become sober, Megan (Chi Ngyugen) eventually accepts and supports her, creating an unexpected dynamic duo that are as engaging as they were beforehand, but it also uncovered deeper levels of their bond. The show also involves a friendship where Phoebe has an unrequited crush on Renee (Emma Horn), managing to deftly portray this with mere glances and smiles. It is almost admirable they way the show incorporates a vast array of female friendships, allowing each colloquial dialogue and innocent scene to narrate far more than an entire monologue could.

From mental health to celebrating women, Class of ’07 delves into these critical themes with laughter on the tip of their tongue and the drama of a fantastical premise. It is more than just a feminist retelling of a cult classic; more than just a spiral into “savagery;” and instead engages with mental renewal, female unity and delicate friendships. In the end, it encourages us to not take the end of the world too seriously whilst being drenched in 2000s nostalgia.