“Yes, God, Yes” (2019) is a refreshingly honest, quietly hilarious, and surprisingly tender coming-of-age film that explores teenage sexuality with a level of empathy rarely seen in the genre. Directed by Karen Maine, the film follows Alice—played brilliantly by Natalia Dyer—an innocent Catholic school girl whose world turns upside down as she begins to experience sexual curiosity in an environment obsessed with repression.

What makes the film so compelling is its gentle realism. Rather than mocking religion or glorifying rebellion, it focuses on the inner battle of a girl trying to understand herself while surrounded by shame-filled messaging. Dyer’s performance is wonderfully nuanced: awkward, confused, curious, and utterly relatable. With just a look, she conveys the emotional chaos of adolescence—desire clashing with doctrine, honesty fighting with fear.

The film’s humor is soft, almost deadpan, yet incredibly effective. Moments of temptation, guilt, and miscommunication unfold with a natural rhythm that feels both hilarious and painfully true. The writing is sharp but compassionate, never villainizing its characters—even the hypocrites are shown as flawed products of their environment, not caricatures.

Set during a restrictive religious retreat, the story becomes a quiet rebellion, a journey of self-discovery where Alice slowly realizes that her body, her desires, and her identity are not sins to be erased but parts of her humanity.

With its short runtime, warm cinematography, and intimate storytelling, “Yes, God, Yes” stands out as a modern coming-of-age gem—funny, insightful, sincere, and ultimately empowering. It’s a film that treats young people with respect, acknowledges their confusion, and celebrates the moment they begin to claim their own truth.