It’s no secret to anyone with a pulse and a Netflix subscription that the American film industry is in crisis right now. We as viewers have likely yet to feel the worst of the effects of the combined WGA and SAG strikes, and even before that, things have been… not great. But in our darkest hour, a hero has come to save us all from the endless slog of reboots, sequels, and cinematic universes — Emma Seligman’s sophomore directorial outing, Bottoms.

Written by Seligman and Rachel Sennott, the film follows two teenage lesbians, PJ (Sennott) and Josie (Ayo Edebiri), who start a fight club to get attention from cheerleaders, a ploy that predictably spirals out of control. It’s a funny, gory, and at times heartfelt romp about being gay, punching people in the face, and how much being a teenager sucks. Simply put, it’s a great time.

Bottoms’ greatest asset is its cast, which is fully stacked with rising comedic and dramatic powerhouses. Rachel Sennott may just be the funniest person alive and personally I hope we get to see her in every movie from now into eternity. Similarly, while I was not very familiar with Ayo Edebiri before Bottoms — I don’t watch The Bear. I know. I’m sorry. — I was blown away by her performance and will definitely be paying attention to whatever she does next. Additionally, Nicholas Galitzine, who plays the satirically terrible football player Jeff, is pitch-perfect. If you didn’t like him in Red, White & Royal Blue, I would urge you not to count him out just yet. He’s got comedic chops. Also, Marshawn Lynch of Seattle Seahawks fame is in this movie — and like the rest of the cast he’s really, really funny.

Bottoms is a stellar, well-made film with a cast full of fresh talent you’ll want to keep an eye on. The costumes, writing, and the score by Leo Birenberg and Charli XCX, are all top notch. If you, me, you have been despairing at the state of cinema, Bottoms will remind you what it’s like to laugh so hard in a movie theater that you start to worry for your safety. The film’s characters are weird, deeply messy, and a little bit insane in a way that feels freeing to watch. The film’s greatest gift to its audience is the space to be messy, too — and to leave the theater knowing that it’s okay to be imperfect, and that every failure is just another funny story waiting to be told.