With Vinberg’s upbringing as Skate Kitchen’s impetus, Moselle set out to make a movie about female relationships and isolation in the social media age, where Instagram can either alleviate or exacerbate heartache. "That is the beautiful thing about social media, that you can find like-minded people easier than just searching in the world yourself by foot," says Moselle. "I think sometimes people might think it fills a void, but I don’t think it does. I notice that when I’m really not feeling well, or anxious, or have anxiety or depression, I just flip through Instagram like a robot, almost. I know that it's not healthy. It feels awful."
For Camille, Instagram pays off and turns her remote fascination with the girls of Skate Kitchen into a lasting fellowship. Defying her mother’s wish that she never skate again following an horrific injury Camille sustains in the film’s opening scene (she gets "credit carded," which Vinberg has had happen to her not once but twice; if you’re faint of heart, don’t Google search), Camille determines to meet the crew in person, vibing with compassionate and warm Janay (Ardelia Lovelace) and foul-mouthed, loud-mouthed, fearless Kurt (Nina Moran). Janay and Kurt provide a second home for Camille: They’re the kindred spirits she’s craving from Skate Kitchen's very first scene.
"I think that Camille’s character is in this very lonely place," Moselle muses. "She hasn’t found her tribe yet. She probably felt different than a lot of the girls that went to her school, that lived in her town." Meeting the Skate Kitchen squad fills that hole in Camille’s life, and with all speed the movie becomes a hang out flick, focusing on the girls as they galavant around New York City, work on their skating techniques, beef with boys who claim the best skateboarding spots in the Lower East side for themselves, party, and make generalized philosophical statements about life. They laugh a lot. They have fun. They fall down, get back up, dust themselves off, and try again. They’re also shockingly natural, a credit to Moselle’s familiarity with non-professional actors as well as the girls’ willingness to be vulnerable on camera.