Hayley Kiyoko’s directorial debut, *Girls Like Girls*, attempts to weave a poignant tale of adolescent romance through a nostalgic lens. However, while the film boasts vibrant visuals and a heartfelt premise, it ultimately stumbles under the weight of a predictable narrative and lacklustre dialogue.
A Nostalgic Setting
Set against the backdrop of a small-town Oregon in the summer of 2006, *Girls Like Girls* introduces us to Coley (Maya Da Costa), a withdrawn teenager grappling with the loss of her mother. Relocating to live with her estranged father, Coley becomes wrapped up in the complexities of young love when she meets Sonya (Myra Molloy), a seemingly perfect girl bound to her boyfriend, Trenton. Their immediate connection dances along the edges of friendship and romance, embodied in playful exchanges that hint at deeper emotions.
Kiyoko, who gained fame with her breakout single of the same name, captures the essence of a bygone era, complete with a vibrant colour palette reminiscent of vintage Instagram filters. Yet, while the film’s aesthetic is engaging, it often prioritises style over substance, leaving viewers yearning for a richer narrative.
A Struggle for Depth
From the outset, the film’s setting is heavily signposted, with Coley biking past a graduation banner, clutching her iPod Classic, and listening to Tegan and Sara. These nostalgic cues, although visually appealing, feel more like window dressing than integral elements of storytelling.
The dialogue, however, often veers into cringeworthy territory. Lines like “I’m tired of running,” paired with Coley’s reply of “So don’t,” come off as simplistic and hollow, lacking the emotional resonance Kiyoko likely aimed for. Despite this, the performances of Da Costa and Molloy manage to inject some life into the script, capturing the exhilarating yet terrifying moments of first love. Their chemistry brings a flicker of authenticity, even as the narrative struggles to maintain momentum.
A Missed Opportunity for Political Engagement
In promoting *Girls Like Girls*, Kiyoko has emphasised the importance of representation, asserting that “we need more queer stories.” However, the film fails to engage with the broader social and political dimensions of LGBTQ+ experiences. Sonya’s claim that her relationship with Coley is “wrong” is presented without context or consequence, leaving viewers without a deeper understanding of the societal challenges that many queer individuals face.
This lack of political engagement makes the film feel both intensely personal and frustratingly incomplete. It revels in the intimate feelings of its characters while avoiding the broader institutional structures that shape their lives. Consequently, *Girls Like Girls* becomes an exploration of emotion that feels detached from reality, rendering it an unsatisfying experience.
The Verdict
*Girls Like Girls* will undoubtedly resonate with its target audience, particularly those who have followed Kiyoko’s career since her early days on Disney Channel. However, while the film’s vibrant visuals and themes of young love are commendable, it ultimately suffers from a lack of depth and narrative coherence. As Kiyoko’s debut, it serves as a reminder that while representation matters, it cannot substitute for a well-crafted story.
Why it Matters
In a landscape where queer narratives are becoming increasingly prominent in mainstream media, *Girls Like Girls* highlights both the progress and the pitfalls of representation. The film’s attempt to portray a sapphic romance is a step forward, yet it underscores the necessity for depth, context, and political engagement in storytelling. As audiences continue to seek authentic representations of diverse experiences, Kiyoko’s film serves as a call to action for future creators to elevate their narratives beyond surface-level portrayals.