In a world where diverse narratives are finally beginning to surface, Hayley Kiyoko’s directorial debut, *Girls Like Girls*, arrives with both promise and disappointment. The film, inspired by Kiyoko’s iconic 2015 music video, attempts to capture the essence of a sapphic romance in a small-town setting, yet often falls prey to predictability and cliché. With its release on 19 June in US cinemas and on VOD in Australia, many will be eager to see if this cinematic extension can live up to Kiyoko’s celebrated music career.
A Journey Back to 2006
Set against the backdrop of rural Oregon during the summer of 2006, the film introduces us to Coley, played by Maya Da Costa, a withdrawn teen grappling with the loss of her mother. Relocating to live with her estranged father—an unexpected cameo by Zach Braff—Coley’s world is painted in muted tones until she meets Sonya (Myra Molloy), the quintessential girl-next-door who is unfortunately tied to her boyfriend, Trenton.
Their connection is instant and electric, teetering between friendship and something deeper. The film is laden with nostalgic references—Coley rides her bike past graduation banners, listens to Tegan and Sara on her iPod Classic, and navigates the digital world of AIM with a mere seven contacts. Kiyoko’s attention to the details of the era is commendable, but it often feels more like a nostalgic montage than a cohesive narrative.
Aesthetic Over Substance
Kiyoko employs a visual palette that is vibrant and saturated, mimicking the warmth of analogue memories. However, while the cinematography is striking, it cannot mask the film’s narrative shortcomings. The dialogue often teeters on the edge of cringe-worthy, with lines such as “I’m tired of running,” met with equally uninspired responses. What could be tender moments of connection are overshadowed by a script that lacks depth and originality.
Despite this, the chemistry between Da Costa and Molloy shines through. Their performances capture the awkwardness and excitement of first love, bringing a sense of authenticity to their connection. Yet, the film is surprisingly timid in its exploration of physical intimacy, opting for PG-13 kissing rather than delving deeper into the nuances of their relationship.
A Missed Opportunity for Political Depth
One of the film’s significant missteps is its failure to navigate the broader societal implications of a sapphic love story. While Kiyoko’s intention to showcase queer representation is clear, the film feels overly focused on individual emotions, neglecting the political landscape that surrounds LGBTQ+ identities. Sonya’s line about their relationship being “wrong” lacks context or depth, leaving audiences questioning the underlying reasons for such a sentiment.
The film’s lack of political engagement positions it as a nostalgic fantasy rather than a meaningful commentary on the realities faced by queer individuals. This absence of a broader narrative makes *Girls Like Girls* feel emotionally hollow, despite its earnest attempts at representation.
Why it Matters
While *Girls Like Girls* showcases the desire for more queer stories in mainstream cinema, it ultimately serves as a reminder of the complexities inherent in storytelling. Representation is crucial, but it cannot substitute for depth, nuance, and an understanding of the wider societal context. Kiyoko’s film, though visually appealing, falls short of its potential, leaving a yearning for a narrative that embraces both the personal and the political. As audiences continue to demand diverse and authentic stories, it is essential for creators to remember that visibility alone is not enough; the richness of the narrative must match the vibrancy of the representation.
