Everyone with a fine arts degree knows paid creative work can be hard to come by. Often, turnover is low, which makes job openings scarce. Add the decreasing popularity of traditional media, and you have a crisis of limited prospects. Internships are often the way to get your foot in the door. Make a good impression, and they may remember you when a position opens up. Consequently, even unpaid experience is a competitive market, and some organizations take full advantage of that fact. In Magazine, interns at a prestigious journal learn that the hard way and discover more than just publishing.

In 2011, Nora (Lily McInerny) moves from Arizona to New York for a summer internship with Platen. It’s a trendsetting literary magazine that attracts writers for its staff as much as its pages. The aspiring poet hopes to turn the free experience into a full-time gig since it’s nearly impossible to earn a living writing poetry. Nora’s three fellow interns — all with similar aspirations — welcome her, and she finds instant friendship with Tabitha (Lukita Maxwell). Although everyone warns her about the editor-in-chief, Mickey (Jake Lacy), Nora feels an immediate attraction to one of the magazine’s editors, Thomas (Joshuah Melnick). But a workplace romance always leads to predictable complications.

When Nora arrives for her first day, it’s like she just fell off the turnip truck. She’s giddy with excitement and can’t wipe the smile off her face. Her positive Polly attitude oozes naïveté, making her prey for the male predators around her. But she’s 20-something and can make her own decisions. Nora and Thomas initiate a mutual sexual relationship, both ignoring the power imbalance. But naturally, a moment arrives when that inequity matters, and they both blame the other. He was never supposed to help decide her future, and she was supposed to leave at the end of her internship. Never mind the secrecy and discomfort at the office.

Young aspiring writers flock to Platen’s unpaid positions because of the magazine’s esteemed reputation. It’s a few months of experience and the chance to attend parties where they can mingle with the literary elite. In other words, network before trying to avoid embarrassment after drinking too much free booze. Mickey regularly tells his staff, “Know when to leave the party,” which is actually great advice, particularly for the less experienced interns.

However, regular fêtes and a certain crowd invite gossip, and Mickey has a reputation that precedes the magazine. It’s unsettling how many people ask Nora if he’s hit on her yet, even though she’s been on the job for less than a week. It sounds like the internship program also serves as a revolving door of women for the publication’s male staff to choose from. Nora and Thomas’ relationship is clearly unequal, whether it’s initially harmful or not. But the only person who appears to care has ulterior motives.

The movie takes place several years before the #MeToo movement. So, no one calls for cancellations or boycotts of the publication. Consequently, the film’s view of the situation is less black-and-white than a contemporary story might be. Nora acknowledges her choices, while clearly putting the blame on Thomas — but for not realizing it could impact her career rather than taking advantage of his position. Conversely, he asserts he can’t be in a position of power because he’s only a few years older than her. Everyone’s attitude seems to be one of acceptance, except in certain circumstances, which is an unusual perspective in the current environment.

Nonetheless, the film uses some great metaphors throughout. The interns are granted access to a private bar, only for it to lose its appeal once they can enter on their own. Suddenly, its lameness is no longer obscured by its exclusivity. More subtle is Nora’s Platen tote bag. It begins pristine and white, but by the narrative’s end it’s dirty and has lost its sparkle, imitating Nora’s feelings about her internship.

Writer-director Alexandra Pechman’s feature debut presents an insightful portrayal of a foregone literary world. But, more notably, it’s about the romantic and political lessons one sometimes has to learn the hard way.

Magazine premiered at TIFF 2026 on September 11 and has an additional screening on September 18.

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