Director: Sam Hayes
Writers: Sam Hayes
Stars: Odessa A’zion, Ariel Winter, Tyler Alvarez
Synopsis: In the midst of her whole life falling apart, Kennedy attempts to somehow reconnect with her dead father, searching for permission to live her own life within a wild pool-hopping escape through the elaborate estates of her college town.
Coming-of-age films are often built around the idea that one extraordinary night can change everything. Whether it’s American Graffiti, Booksmart, or Superbad, there’s something irresistible about watching young people stumble through chaos, make terrible decisions, and somehow come out the other side a little wiser. Pools, directed by Sam Hayes, takes that familiar blueprint but swaps drunken house parties for an after-hours pool-hopping adventure. The result is a dreamy indie drama taking on growing up with grief.
The story follows Kennedy (Odessa A’zion), a rebellious college student who is facing expulsion while quietly carrying the weight of unresolved grief. Rather than confronting her future head-on, she joins a ragtag group of friends for an impulsive night spent sneaking into the luxurious swimming pools scattered across the wealthy neighborhoods surrounding their college town. What initially appears to be an excuse for youthful rebellion turns out to be an exercise in healing.
Odessa A’zion continues to establish herself as one of the more interesting young performers working today. She has an effortless ability to make emotionally guarded characters feel accessible, never asking the audience to pity Kennedy, only to understand her. She plays the role with an appealing mixture of sarcasm, vulnerability and quiet frustration, allowing moments of silence to carry
just as much weight as the dialogue. The supporting cast brings an easy chemistry that feels refreshingly authentic. These genuinely resemble a group of friends rather than actors assembled to fulfil familiar coming-of-age archetypes. Ariel Winter and Suzanne Cryer are great in their roles, adding a layer of depth to the film and to Kennedy – as the characters who know her and what she’s been through with her dad’s sudden passing.
Visually, Pools is stunning. The glowing blue water, moonlit gardens, and sprawling luxury homes create an almost dreamlike atmosphere that constantly contrasts with the characters’ emotional uncertainty. Every new pool feels like entering another chapter of the evening, another opportunity for confession, escape or simply a few moments of peace. The water becomes more than just a backdrop; it feels symbolic throughout, representing escape, reflection, freedom and, at times, emotional paralysis.
The cinematography does much of the emotional heavy lifting. There’s something undeniably cinematic about watching these characters float (and party) beneath the stars while trying to keep their complicated lives from pulling them under. They don’t all get away with crashing a stranger’s pool. Some of the best parts of the film are when the characters are caught and have to fight off the owners and escape into the next garden.
The film is filled with random, quirky quick zoom-ins and crash/whip zoom shots, which really work for the indie vibe. The soundtrack is also very effective in shaping the emotions in the scenes and driving the story along. That said, Pools won’t work for everyone. Its leisurely pace demands patience, and viewers looking for a conventional comedy or high-stakes drama may find themselves waiting for something bigger to happen. The film is working with mood over momentum, but it could have done with adding a little more conflict and angst to keep viewers truly invested.
There were moments when I wished the screenplay dug a little deeper into some of its supporting characters. Several intriguing personalities drift in and out of the narrative without leaving much of an impression, and because the chemistry is strong between the actors, I wanted more of a deep-rooted richness from them. They’ve come together as strangers, which is a spontaneous idea, but they missed a chance for real depth and growth.
Towards the end, we finally get the outburst we’ve been waiting for, where the honesty about what Kennedy is feeling comes out. The ending doesn’t offer any resolutions, but lets audiences know that however you grieve is okay. It’s a slow and somber ending, but you’ll feel slightly more whole after watching.
Pools is a deep and reflective take on the coming-of-age genre. It’s thoughtful, beautifully shot, emotionally honest, and anchored by another impressive performance from Odessa A’zion. Like the best late-night conversations, it will leave you reflecting on your own memories of youth, friendship and the strange comfort of feeling completely lost. Sometimes, one unforgettable night really can
change everything.
