THE SCHOOL OF FIGHT

The scouts

A schoolgirl revenge story sounds like the most predictable thing imaginable, but Lee's committed to subverting it—that sting in the tail ('vengeance may not be the only thing') suggests he's building something weirder than the premise lets on, and honestly, I'm curious whether he actually pulls it off in three minutes.

The tonal architecture here—balancing action and coming-of-age against a backdrop of genuine tenderness—echoes the best of contemporary teen cinema, and in 3 minutes Lee's demonstrating real control over how those registers can coexist without sabotaging each other.

The real move is likely buried in how Lee choreographs the fight itself: that decision to make violence the language where the protagonist confesses something about herself or her friend, rather than just settling a score—that's where a modest premise becomes something true.