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In a cinematic landscape that has embraced diverse narratives, Hayley Kiyoko’s directorial debut, *Girls Like Girls*, attempts to carve out a space for queer storytelling. However, the film ultimately falters under the weight of its own predictability and lack of emotional resonance. With a release date of 19 June in US cinemas and on VOD in Australia, Kiyoko’s adaptation of her iconic 2015 music video presents a nostalgic yet superficial exploration of adolescent love.
A Familiar Yet Flat Narrative
Set against the backdrop of small-town Oregon in the summer of 2006, the film introduces audiences to Coley, played by Maya Da Costa, a brooding teen who moves in with her estranged father following her mother’s death. This premise, while rife with potential for depth, quickly devolves into a series of clichéd moments that lack the emotional heft they strive for. The film’s opening scenes are laden with nostalgic references—Coley rides her bike past a graduation banner, listens to Tegan and Sara on her iPod Classic, and logs into AIM, underscoring the era’s aesthetic but failing to deliver a compelling storyline.
The dynamic between Coley and Sonya (Myra Molloy), the quintessential “girl next door” ensnared in a lacklustre relationship with her boyfriend Trenton, is meant to be the heart of the film. Their connection begins as a sweetly ambiguous friendship, with moments of intimacy expressed through whispered secrets and playful physicality. Yet, the dialogue often feels forced and lacks the nuance that could elevate their interactions beyond mere surface-level attraction.
Aesthetic Choices vs. Narrative Substance
Visually, *Girls Like Girls* attempts to evoke a sense of nostalgia with its vibrant colour palette and dreamy cinematography. However, while the film is replete with striking visuals, it sacrifices narrative substance in the process. Kiyoko’s film is reminiscent of her music videos, where style often overshadows storytelling. The script is riddled with uninspired lines that detract from the actors’ performances, which are the film’s saving grace. Moments of tension and longing between Coley and Sonya are palpable, but they are overshadowed by a rambling plot that lacks direction.
Attempts at realism through overlapping dialogue and intimate framing often miss the mark. The film struggles to find a voice, oscillating between earnestness and cliché without ever fully committing to either. This lack of focus leaves the audience yearning for a deeper exploration of the characters’ emotional landscapes.
A Missed Opportunity for Representation
Kiyoko’s commitment to representation is commendable, as she has long advocated for more queer narratives in mainstream media. However, *Girls Like Girls* falls short of delivering a meaningful commentary on LGBTQ+ experiences. While the characters grapple with their identities, the film lacks a broader critique of societal norms or the challenges faced by queer individuals. In a pivotal moment, Sonya declares her relationship with Coley as “wrong”, yet the film fails to explore why this sentiment exists or what societal forces are at play. Instead, it remains firmly ensconced in individual feelings, neglecting the larger context of queer existence.
The film’s reliance on nostalgia also serves to distance it from contemporary discussions surrounding LGBTQ+ rights. While Kiyoko’s vision is rooted in a desire to create visibility, it is ultimately too focused on representation to engage with the complexities of queer identity.
Why it Matters
*Girls Like Girls* represents both a triumph and a failure in the landscape of queer cinema. While it is undoubtedly significant for its attempt to bring Sapphic stories to the forefront, the execution leaves much to be desired. For a generation eager for authentic representation, the film’s shortcomings highlight the necessity for narratives that are not only seen but felt—stories that resonate on a deeper level and engage meaningfully with the issues that shape the lives of LGBTQ+ individuals. As Kiyoko embarks on her directorial journey, the hope remains that future projects will embrace the nuance and depth that are vital for impactful storytelling.
