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Prozac Nation

Prozac Nation

Drama · Romance · 2003

When talented young writer Elizabeth Wurtzel earns a scholarship to Harvard, she sees it as her chance to escape the pressures of her working-class background and concentrate on her true talent. But what starts out so promising leads to self-destructive behavior and paralyzing depression that reflects an entire generation's struggle to navigate the effects of divorce, drugs, sex, and high expectations.

Movie details

Prozac Nation

“Where do you go when you've gone too far?”

2003 Drama · Romance 1h 35m

Critical arithmetic

One number, for now.

TMDB

6.4 / 10

Community rating

When talented young writer Elizabeth Wurtzel earns a scholarship to Harvard, she sees it as her chance to escape the pressures of her working-class background and concentrate on her true talent. But what starts out so promising leads to self-destructive behavior and paralyzing depression that reflects an entire generation's struggle to navigate the effects of divorce, drugs, sex, and high expectations.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Prozac Nation?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Erik Skjoldbjærg

Written by

Frank Deasy · Larry Gross

Christina Ricci

Christina Ricci

Elizabeth Wurtzel

Jason Biggs

Jason Biggs

Rafe

Anne Heche

Anne Heche

Dr. Sterling

Michelle Williams

Michelle Williams

Ruby

Jonathan Rhys Meyers

Jonathan Rhys Meyers

Noah

Jessica Lange

Jessica Lange

Mrs. Wurtzel

Lou Reed

Lou Reed

Lou Reed

Court is in session

Put Prozac Nation on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Sentimental Softie

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Cool Ironist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.