In a cinematic landscape that increasingly celebrates queer stories, Hayley Kiyoko’s directorial debut, *Girls Like Girls*, emerges with a wave of nostalgia yet struggles to transcend its predictable narrative. Set against the backdrop of small-town Oregon in 2006, the film attempts to capture a tender sapphic romance but ultimately leaves audiences yearning for a deeper exploration of its themes.
A Tribute to Queer Representation
*Girls Like Girls* is inspired by Kiyoko’s 2015 breakout single, which resonated with a generation of queer youth. The song’s poignant message—“Girls like girls like boys do, nothing new”—accompanied by a captivating music video, has since amassed over 163 million views on YouTube. The film seeks to continue this legacy, with Kiyoko herself proclaiming the importance of visibility for the LGBTQ+ community. However, while representation is crucial, the film seems to rest solely on this premise, neglecting the narrative depth that could have made it truly impactful.
A Story of First Love
The film follows Coley, portrayed by Maya Da Costa, who grapples with her identity while living with her estranged father after her mother’s death. Introduced to Sonya (Myra Molloy), the quintessential American girl trapped in an unfulfilling relationship, Coley’s journey of self-discovery unfolds. Their connection is palpable, evoking the innocent yet intense emotions of first love; however, the dialogue often feels forced and clichéd, lacking the authenticity that such tender moments deserve.
The vibrant visual style, drenched in nostalgic hues reminiscent of Instagram filters, captures the essence of early 2000s youth culture. Yet, it also distracts from the film’s core, drowning out the subtleties of the characters’ experiences. The film’s attempts at capturing the era—including references to iPods and AIM—often serve as awkward reminders of the passage of time rather than enhancing the narrative.
Performance vs. Script
Despite the film’s shortcomings, both Da Costa and Molloy deliver commendable performances, particularly in their portrayal of the tension and excitement surrounding their burgeoning romance. Their chemistry brings to life the butterflies of a first kiss, but the screenplay’s shortcomings often hinder their efforts. With clunky dialogue and a meandering plot, the film struggles to maintain the emotional momentum it desperately seeks.
Kiyoko’s vision is apparent; however, it lacks the necessary political context that could elevate the story. Moments of introspection are drowned out by a narrative that feels too focused on individual experiences without addressing the broader societal implications. As Sonya expresses discomfort about their relationship, the film fails to explore the reasons behind this sentiment, leaving the audience in a state of confusion.
The Verdict
Ultimately, *Girls Like Girls* attempts to serve as a beacon of representation but falters in delivering a cohesive and emotionally resonant narrative. While Kiyoko’s intentions are commendable, the film’s reliance on surface-level representation leaves it feeling hollow.
With a UK release yet to be announced, *Girls Like Girls* is already available in US cinemas and on VOD in Australia, but one can’t help but wonder if it will find the audience it seeks.
Why it Matters
In an era where queer narratives are gaining traction, *Girls Like Girls* serves as a reminder of the necessity for authentic storytelling. While representation is vital, it is equally important to delve into the complexities of identity and love. Kiyoko’s debut may have sparked conversations about visibility, but without a deeper exploration of its themes, it risks becoming another missed opportunity in the quest for genuine queer representation in cinema. The film underscores the importance of not just being seen but also of learning to look beyond the surface.
