In a cinematic adaptation of her iconic music video, Hayley Kiyoko’s *Girls Like Girls* fails to inspire, offering a predictable narrative that lacks depth and originality. Following the success of her 2015 hit, which celebrated queer love and became a cultural touchstone, Kiyoko’s directorial debut attempts to capture the same magic but falls flat, relying too heavily on representation without substantial storytelling.
A Nostalgic Journey Through Queer Adolescence
Set in a small Oregon town during the summer of 2006, the film introduces us to Coley (Maya Da Costa), a withdrawn teenager grappling with her mother’s death as she navigates a strained relationship with her father. As Coley acclimatises to her new environment, she encounters Sonya (Myra Molloy), an all-American girl who is charming yet trapped in a relationship with her boyfriend, Trenton.
The two girls quickly forge a bond that straddles the line between friendship and romance, exchanging intimate glances and playful whispers. Their connection, marked by a blend of youthful longing and vulnerability, is the film’s emotional core, though it is often overshadowed by the clunky dialogue that punctuates their interactions. Kiyoko’s vision, while well-intentioned, is marred by a script that offers little nuance.
Aesthetic Over Substance
Visually, the film is drenched in a warm, nostalgic palette that evokes the era it represents, using colour to evoke a sense of longing reminiscent of vintage Instagram aesthetics. Kiyoko’s stylistic choices aim for a raw, authentic feel, but unfortunately, the execution lacks the necessary depth to resonate with audiences. The film’s dialogue often feels forced, with lines such as “I’m tired of running,” followed by the clumsy retort, “So don’t,” failing to convey the emotional weight intended.
Despite the shortcomings of the script, Da Costa and Molloy’s performances shine through the mediocrity. Their chemistry is palpable, and moments of tension before their first kiss are portrayed with a genuine sense of anticipation. However, the film revels in its R-rating without delivering on the promise of a more mature exploration of their relationship, opting instead for a series of tame, romantic vignettes.
A Missed Opportunity for Representation
Kiyoko’s vision for *Girls Like Girls* is steeped in a desire for representation, a reflection of the more optimistic cultural climate of the Obama years. Her assertion that “we need more queer stories” underscores a belief that visibility alone constitutes progress. Yet, while the film may introduce queer narratives, it ultimately lacks the political and emotional depth that could have made it impactful.
As the story unfolds, the absence of a broader context leaves viewers questioning the implications of Coley and Sonya’s relationship. The film hints at societal pressures but never fully engages with them, rendering the characters’ struggles somewhat hollow. Ultimately, *Girls Like Girls* becomes a film about being seen, yet it fails to explore what that truly means for its characters beyond surface-level sentiments.
Why it Matters
In an era where representation in media is increasingly vital, Kiyoko’s *Girls Like Girls* serves as a reminder of the importance of authentic storytelling. While the film may resonate with some viewers as a representation of queer love, its lack of substance and depth underscores a broader issue within the genre. It highlights the need for narratives that not only reflect diversity but also engage thoughtfully with the complexities of identity and love. As audiences seek stories that genuinely reflect their experiences, Kiyoko’s debut falls short, leaving a desire for more meaningful portrayals of LGBTQ+ lives.
