In a landscape that has seen an increasing number of queer narratives flourish, Hayley Kiyoko’s directorial debut, *Girls Like Girls*, attempts to weave a sapphic tale that mirrors the enchanting spirit of her groundbreaking music video. Yet, despite its noble intentions, the film struggles to rise above mediocrity, leaving viewers yearning for depth in both story and character.
From Music Video to Feature Film
Back in 2015, the cultural landscape shifted when the US Supreme Court legalised same-sex marriage, coinciding with Kiyoko’s release of *Girls Like Girls*. The track resonated with a generation, capturing the complexities of queer love and friendship against a backdrop of vibrant visuals. Fast forward to 2023, Kiyoko has transitioned from pop sensation to auteur, releasing a film that aims to expand the narrative she started years ago. However, while her music video garnered over 163 million views, the film version appears to be a nostalgia-laden, albeit disjointed, venture.
Set in the summer of 2006 in a small Oregon town, *Girls Like Girls* follows Coley (Maya Da Costa), a withdrawn teen navigating an unfamiliar environment after the loss of her mother. She soon meets Sonya (Myra Molloy), the epitome of the all-American girl, caught in a relationship that leaves her unfulfilled. Their immediate connection, tinged with romantic tension, serves as the film’s emotional core, but the execution feels lacking.
A Visual Feast with Little Substance
Kiyoko’s film is drenched in a warm, nostalgic palette that seeks to evoke fond memories of youth. However, despite the vibrant aesthetics, it often drifts into a realm of cliché and predictability. The dialogue, burdened with forced profundity, fails to resonate. For instance, exchanges like “I’m tired of running,” followed by “So don’t,” echo the trappings of subpar young adult fiction rather than genuine emotion.
While the performances of Da Costa and Molloy shine through the script’s shortcomings, their chemistry is often overshadowed by a lack of narrative coherence. The film is punctuated by tender moments that evoke the thrill of first love, yet these instances are interspersed among a series of disconnected scenes that resemble vignettes rather than a cohesive story.
A Missed Opportunity for Political Depth
Despite Kiyoko’s intentions to highlight representation, *Girls Like Girls* ultimately falters in its exploration of the societal implications surrounding queer identity. As the plot unfolds, characters hint at the complexities of their feelings, yet the film remains curiously apolitical. A moment where Sonya refers to her relationship with Coley as “wrong” feels hollow, lacking any exploration of the societal pressures or expectations that could lend weight to such a statement.
The film’s focus on individual emotion, while poignant, neglects the broader context that shapes queer experiences. There is little acknowledgment of the external forces that influence these characters, leaving the film stranded in a place where personal experiences feel intensely isolated and lacking in depth.
Why it Matters
In a time when queer stories are finally being told on mainstream platforms, *Girls Like Girls* represents both a triumph and a disappointment. While it pushes for visibility and representation, it ultimately highlights the necessity for narratives that delve deeper into the complexities of identity and love. As Kiyoko’s film reaches audiences in cinemas and on VOD platforms, it serves as a reminder that mere representation is not enough; true progress lies in the ability to engage with the broader societal narratives that shape our lives. The longing for authentic connection in queer cinema continues, and the hope is that future works will rise to meet that challenge.
