The look and sound is so '80s you might not realize David Moreton’s coming-out film, Edge of Seventeen, was made in 1998.

With its queer punk soundtrack, New Wave fashion sense, and grainy, sun-bleached cinematography, Seventeen is indeed a throwback in many ways. But director Moreton and screenwriter Todd Stephens' tale of hard-won self-acceptance is also decidedly modern.

And it's definitely a queer film you out to know.

What's It About?

Eric (Chris Stafford) is a high school outcast in Sandusky, Ohio, circa 1984. He dreams of heading to NYU, but a summer job at an amusement park with his best friend Maggie (Tina Holmes) will have to suffice for now.

At the park, Eric becomes friends with his lesbian boss, Angie (Lea Delaria), and a hunky older co-worker, Rod (Andersen Gabrych).

He quickly realizes that he may have feelings for Rod and, as the summer draws to a close, sparks fly.

Once the school year begins, though, Eric is back to facing the pressures of a heteronormative environment. With Maggie’s help, and a boatload of conflicted feelings, he begins to rebel: First a new haircut, then a new wardrobe, and finally late night trips to a nearby gay bar.

Eric starts to realize that he could be happy in this life, if not for Maggie’s not-so-secret affections, his mother’s near-constant worry, and Rod turning out to be a real dick.

Seventeen is remarkably melancholy and emotionally attuned—defying sunny, expectations while still giving a glimmer of hope to struggling LGBT teens.

Why Is It Important?

The Imperfect Characters: Without someone to root for, a film can fall apart. But Eric is neither a victim nor a saint.

You want to groan at some of his choices and slap him upside the head for his cluelessness—particularly in his selfishness toward Maggie—but Eric's self-centered quest for understanding is relatable to anyone who has been a confused teenager. (Read: all of us.)

Edge of Seventeen is painfully, and often humorously, real. Its characters' flaws make them more interesting, and the dynamic conclusion more emotionally satisfying.

The Realistically Awkward Sex: Not many gay sex scenes can be both erotic and embarrassing, but Edge of Seventeen embraces all aspects of its characters' sexual situations—from Eric's first time with Rod to an encounter with a stranger in a car.

In each, Eric is uncomfortable and unsure—and makes a bit of a fool of himself. But Stafford successfully conveys the eagerness and anxiety of the moment.

The painful mix of emotions, and physical strain, is on display most effectively when he bottoms for the first time. (How many movies go there?)

Sure, Eric and Rod are absolutely adorable, but neither is an Abercrombie model, providing continuity in a film that strives for realism and relatability.

The Power of Queer Families: Spoiler alert—the following paragraphs contain references to the film's conclusion. You have been warned.

I've referred to Edge of Seventeen as brutally honest and melancholy, and the film's final scenes really are an emotional doozy. Eric, desperate for a sense of normalcy, sleeps with Maggie only—to immediately tell her that he can't change who he is.

The next morning, Eric's mother confronts him about his late-night forays to the Fruit and Nut Co. (Best name for a gay bar, BTW.) When he finally comes out to her, she embraces him then walks away in tears, unsure of how to handle her son's pronouncement.

In one fell swoop, Eric has lost his biggest support network. But later, at the Fruit and Nut, he is embraced by a drag queen, a bevy of older gay men, and a cute college student he met on a previous visit.

On stage, Angie sings a jazz standard dedicating to Eric. As he looks on and smiles, we understand that he's sad for his losses, but he'll persevere in the good care of his very own queer family.

It's an "It Gets Better," moment more than a decade before the phrase was coined.

Edge of Seventeen could have been a mushy love fest or a total downer—instead it delivers a more nuanced depiction of coming out that will neither send gay teens back into the closet or stumbling blindly into a Pride parade. The power of that message, for any viewer, cannot be overstated.

Where Have I Seen Them Before?

The Director: David Moreton never made a big splash after Seventeen, but he did go on to direct 2003's Testosterone and 2009's A Good Funeral, both of which featured the amazing Jennifer Coolidge.

The Writer: Todd Stephens also directed the amazing Sara Rue in 'Gypsy 83, but is best known to gay audiences as the writer-director of Another Gay Movie, an American Pie sendup starring a young Michael Carbonaro.

The Stars: He was nominated for an Independent Spirit Award for his role as Eric, and appeared in 2000's Sally Hemings: An American Scandal, but Chris Stafford has mostly remained off-screen since then.

Tina Holmes has had numerous roles since Seventeen, including stints on Six Feet Under, Persons Unknown, and Invasion and a wonderful supporting performance in another gay film, Shelter.

Andersen Gabrych

went on to appear in Stephens' Gypsy 83 and Another Gay Movie, and is now an in-demand comic book writer who's written for Batman, Detective Comics and Batgirl.

Lea DeLaria was already a name when the movie came out, but has a huge career resurgence as Big Boo on Orange is the New Black. She's a vocal queer activist and was the first openly gay comic to take the stage on The Arsenio Hall Show in 1993.

No More Questions. Just See It.

It's on Netflix, so you really have no excuse.