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Netflix’s The Half of It begins somewhat deceptively, with a highly stylized animated retelling of an old Greek myth in which the four-armed, four-legged, two-headed humans of ancient times are sundered by the gods and wander about forever in search of the other half of their single heart. It ends with a scene between a boy and a girl, something that normally would come right out of a dopey rom-com, but in a way that subverts the trope on every level, from the inversion of its meaning to the quiet, intimate naturalism with which it is filmed. It’s a fitting juxtaposition because the film sandwiched between the two moments is about the fallacies that drive our neat and tidy narratives about love. Love is messy is the point, one called out aloud by main character Ellie Chu (Leah Lewis) in Alice Wu’s short little film about a Chinese-American high schooler whose incredible writing skills find her hired to help her classmate, the kindhearted but far less charming Paul (Daniel Diemer), woo another girl. Paul does not realize that Ellie shares his unrequited desire for Aster (Alexxis Lemire), and that every sweet late-night text and smoldering note passed in class is tearing Ellie apart. If the story borrows its central conceit from Cyrano de Bergerac, it at least puts a few interesting spins on it: Ellie is an outsider in unique ways. She is the only Asian student at her school, an immigrant whose underemployed and linguistically challenged father struggles to run her household. She is the student who is so good at writing that she runs a side hustle writing papers for her entire class. And then there’s the other little matter of her feeling same-sex attraction in a stiflingly small, overwhelmlingly Christian town. It’s a unique twist on a familiar story in a film that universalizes feelings of otherness for the audience, whether they come from being the runt of the litter or the child of an immigrant struggling to make it in America. —Kenneth Lowe
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