Like Clowes’ acclaimed comic, from which it was adapted, Ghost World follows Enid through the dispiriting months following the end of life at school. What director Terry Zwigoff and writer Daniel Clowes propose instead is a radically de-romanticised ambience of world-weariness against which the usually evoked forces of hormonal excess and delinquency pale and fade impotently into a list of dull, conformist attitudes which Enid (Thora Birch), much like the film itself, rejects as empty clichés. Ghost World (2001)’s freshness comes from its refusal to go any of these three ways. Teen movies tend to use the emotional turbulence of adolescence to indulge in melodrama, scatology or sentimentality with varying degrees of justification.
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