One of the most famous teen movies, Nicolas Ray’s electric Rebel Without a Cause, sees its camera shudder sideways during the protagonist’s more traumatic moments, reflecting his disorientation with the indecipherable world, he is only beginning to enter. A similar technique is used occasionally in Assassination Nation, and the comparison between the two does not run out of steam there. Like its 1950’s counterpart, Assassination Nation grapples with what it means to be a contemporary teen, but these are very different rebels. Sexually active, woke, female and armed with a cynicism which would put even the girls from Heathers to shame, these four women have to deal with the consequences of twenty-first-century privacy (or lack thereof), as a hacker threatens the welfare and reputation of their town, Salem.

First, explicit photos of their anti-LGBT mayor expose a hypocrisy which creates such a frenzied media circus that he shoots himself live on air. ‘Why should I care?’ one of our typically sardonic protagonists, Bex (Hari Nef), asks, herself trans and understandably bitter given his opinions. The others: Lily (Odessa Young), Sarah (Suki Waterhouse) and Em (Abra) lazily challenge her but ultimately agree, not realising that this development is just a drop in the ocean. Next, it’s the principal of their high school who is vilified and the revelations do not stop there.

The setting of Salem, of all places, is the film’s not-so-subtle way of telling its audience exactly what to expect. Its modern-day witch hunt leaves no stone unturned, so much so that it even begins with a series of tongue-in-cheek trigger warnings: racism, the male gaze, homophobia, transphobia, and gun violence. By the film’s end, you realise that it hasn’t turned these stones, it has launched them all over the place. Such is the nature of its exploitation credentials: it may be addressing all of these contemporary issues, but it does so while embracing profanity, sex and gore. If you are of a sensitive disposition, physically or politically, Assassination Nation is best avoided.

Naturally, this means that it has future cult hit written all over it

If you have not been turned off by the description already, you will probably find a lot to like. The four central actresses are charismatic enough, even if it is only Young and Nef who have the chance to develop proper characters.  Despite the film’s second half potentially existing in a heightened reality, both the story and the characters initially feel very true to life. It is frustrating to watch teen movies where the interactions and mannerisms of the characters are distractedly artificial, a rarity here, which is particularly impressive given the widespread use of social media and slang. Even more refreshing is the brazen depiction of female sexuality, not an opportunity often afforded to women of this genre. They may sling thinly-veiled barbs at each other like yo-yos, but their desires are clear as day and the transparency of this expression, even with fidgeting boys present, reflects their affinity for one another. As the film progresses and drifts more and more into its own reality, Levinson does not lose sight of this theme of reclaiming agency, helping to underscore the endless volleys of violence and politics with a little more authenticity.

Its message is ultimately a little on the nose. The film’s end plays like a Clinton campaign ad directed by Tarantino; or perhaps a Trump ad masquerading as a Clinton one. (Mileage will vary based on your perspective). This lack of nuance aside, these comparisons reflect just how of the moment its egalitarian ethos feels and with the cultural zeitgeist now moving at such a pace, this is all the more impressive.