The Price of Pretty, the Value of Being

Read Time:5 Minute, 11 Second

MOVIE REVIEW
Beauty Queen
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Genre: Drama
Year Released: 2018
Runtime: 50m
Director(s): Nicholas Goodwin
Writer(s): Nicholas Goodwin
Cast: Christina Goursky, Timothy J. Cox, James Jelkin, Thea McCartan, Sally Eidman, Jordan Gaches, Michael Francese
Where to Watch: available to watch now, here: www.youtube.com

RAVING REVIEW: In a culture that constantly measures worth by appearance, Nicholas Goodwin’s BEAUTY QUEEN takes on the daunting task of unpacking that pressure through a coming-of-age lens. At its center is Christina, played with restraint by Christina Goursky, who represents a generation that feels torn between intellectual achievement and a gnawing hunger to be considered beautiful. The short film, despite its modest production budget, makes its case through authenticity, nuanced performances, and an exploration of how family can anchor us when the world tempts us into shallow waters. The film’s release in 2018 still feels as relevant, if not more so, in 2025.

Christina is presented as bright and college-bound, with her future seemingly mapped out, yet she cannot escape the nagging insecurity of her reflection. She longs for validation not from grades, but from being labeled “beautiful.” The narrative builds its conflict around her failed attempts at modeling and her eventual encounter with Sebastian, a photographer who promises to deliver the image she craves. James Jelkin plays Sebastian with a quiet menace; his presence becomes less about artistry and more about control. The decision to stage much of this encounter in dimly lit spaces underscores the unease.

The strongest counterweight to Christina’s vulnerability is her father, David, played by indie stalwart Timothy J. Cox. He embodies a grounded, almost archetypal figure of a parent who recognizes his daughter’s value in ways she can’t yet see. Cox’s performance avoids melodrama—he isn’t overbearing, but rather gently authoritative. When Christina drifts toward danger, it is David’s presence that pulls her back with clarity. His role doesn’t overwhelm the film but instead adds depth, reminding us that support systems matter most when the outside world threatens to erode our sense of self.

Close-ups reveal nervous glances, half-smiles, and moments of doubt. This intimacy places the audience directly into Christina’s headspace, aligning us with her anxiety. The approach mirrors the script’s simplicity: the story doesn’t wander far from its central theme, and while that focus ensures clarity, it occasionally limits the range of what could have been explored. Still, brevity works in its favor. At under 20 minutes, BEAUTY QUEEN accomplishes a complete emotional arc without overstaying.

What lingers most is the way the film frames beauty as something elusive, almost sinister, when tied to external validation. The session with Sebastian is staged like a ritual of control, a warning about how easily young women’s insecurities can be exploited. Christina’s revelation is less a sweeping exploration and more a subtle shift, one that acknowledges the reality of insecurity without pretending it vanishes overnight.

The performances convey the message more effectively than you can explain. Goursky gives Christina a mix of naivety and self-awareness; she is both believable as a teenager who “should know better” and sympathetic as someone consumed by forces larger than herself. Cox, as he has in many indie shorts, elevates the material through sheer believability. His quiet line delivery and physical presence add more weight than pages of dialogue could ever convey. Jelkin, meanwhile, makes Sebastian unsettling not through overt villainy, but through the subtler discomfort of his gaze, posture, and words that sting without being evil, leaving the viewer wary about his motives even before Christina fully understands them.

That said, the film isn’t without flaws. Audio inconsistencies frequently undermine the tension, with dialogue fluctuating in volume from scene to scene. The dim lighting, though thematically strong, sometimes goes too far, resulting in moments where viewers may strain to catch expressions or hear conversations. These technical blemishes stand out precisely because the story itself is so clear and the performances are so strong—they threaten to distract from what is otherwise a focused and emotionally resonant work.

Where BEAUTY QUEEN succeeds most is in its resonance. Many viewers will see something of themselves in Christina, whether they recall a time of chasing unattainable ideals or have watched loved ones struggle with self-worth. The father-daughter dynamic roots the story in tenderness, balancing its darker undertones with a hopeful tone. This balance prevents the short from sinking into cynicism, instead offering a reminder that love and reassurance can cut through even the harshest self-criticism. While being the father of a teenage daughter may have me slightly biased, the power here is evident!

Ultimately, Goodwin’s film demonstrates the power of modest storytelling anchored in performance. BEAUTY QUEEN isn’t perfect—the flaws in sound and lighting are real—but its heart is undeniable. By refusing to sensationalize Christina’s struggle and instead focusing on the quiet victories of self-recognition and familial support, the film becomes far more than a morality tale. It becomes a mirror, challenging audiences to reconsider where they’ve sought validation in their own lives. In that reflection, it finds its true beauty.

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