Trey Edward Shults’s 2019 film is an ambitious, two-part exploration of an African American family in South Florida grappling with high-pressure expectations, catastrophic tragedy, and the eventual path toward healing. Student Film Reviews A Narrative of Two Halves
Grief and Survival
Legacy: While many pros threatened to boycott Waves in 2019 due to the Update Plan, Waves eventually reversed some of the harsh policies in 2023. However, Version 11 remains the standard baseline. If you are buying used Waves licenses today, the first question you ask is: "Are they Version 11 or higher?" waves 2019
There are films that you watch, admire, and then file away neatly on a mental shelf. And then there are films like Trey Edward Shults’ Waves (2019). These are movies that don’t just unspool before your eyes; they grab you by the collar, drag you underwater, hold you there until your lungs burn, and then, just when you think you can’t take it anymore, they gently pull you back to shore.
Just when you think you know what film you’re watching, Shults pulls the rug out. The second half shifts focus dramatically to Tyler’s soft-spoken sister, Emily (Taylor Russell). The manic energy drains away, replaced by long, static takes, natural light, and aching silence. The vibrant Florida palette of the first half gives way to muted, melancholy tones. Trey Edward Shults’s 2019 film is an ambitious,
Grief and Isolation: While the first half is loud and kinetic, the second half is silent and observational. Emily navigates the wreckage of her family, eventually finding a connection with a classmate, Luke (Lucas Hedges).
Critics and audiences have praised the film for its innovative technical execution. Director Shults uses several cinematic techniques to enhance the emotional weight of the story: If you are buying used Waves licenses today,
Common criticisms include:
At its core, Waves is a critique of toxic masculinity. Tyler is a victim of a culture that teaches young men that their worth is tied solely to physical strength and success. When his body fails him, his sense of self disintegrates. Sterling K. Brown’s performance as Ronald is crucial here; he is not a villain, but a flawed man who realizes too late that his methods of "protection" were actually a cage.
