The burgeoning landscape of directorial debuts in Hollywood for 2026 has been a focal point of industry attention, with critically acclaimed films like "Backrooms" and "Obsession" capturing significant buzz. These projects, helmed by internet-bred directors Kane Parsons and Curry Barker respectively, have ignited fascination due to their original concepts and unconventional entry points into filmmaking, both having roots in YouTube content creation. While their success in capturing the current cultural zeitgeist is undeniable, this spotlight has, at times, overshadowed other significant directorial achievements, particularly those from underrepresented voices. Films such as Aleshea Harris’s powerful feminist Southern gothic "Is God Is" and Adrian Chiarella’s upcoming queer horror "Leviticus" represent the depth and diversity of talent deserving of broader recognition.
Within this dynamic environment, Hayley Kiyoko’s feature film debut, "Girls Like Girls," carves out a distinct and resonant space. Kiyoko, a multifaceted pop star and actress with a career spanning from childhood, has honed her directorial skills over the past decade by helming her own music videos. Facing an industry that struggled to categorize her due to her identity as a woman, a person of biracial descent, and as queer, Kiyoko proactively forged her own path. This journey culminated in the co-direction of the music video for her single "Girls Like Girls," a project that later evolved into a novel and has now been adapted into this full-length feature film. Her deliberate approach to building experience and cultivating a close network of collaborators has positioned her for this significant cinematic moment. While "Girls Like Girls" may not possess the immediate splash of some of the more attention-grabbing directorial debuts, it firmly establishes Kiyoko as a storyteller of remarkable sensitivity, adept at transforming deeply personal narratives into universally resonant works of art.
The film, set against the backdrop of rural Oregon during the early 2000s, unfolds as a poignant coming-of-age story. Following the death of her mother, the young Coley (Maya da Costa) relocates to a new town to live with her estranged father, a figure largely unknown to her. The summer months in this idyllic yet isolated setting offer Coley little more than the freedom to explore her surroundings on her bicycle. It is during one of these explorations, at a local convenience store, that she encounters a group of local teenagers. Intrigued by the quiet newcomer, they extend an invitation to a secluded hangout spot. However, the experience takes a sharp turn when the popular and often abrasive Trenton (Levon Hawke) engages in excessive teasing, driving Coley away. It is Trenton’s on-again, off-again girlfriend, Sonya (Myra Molloy), who subsequently seeks out Coley, offering a gesture of welcome and understanding. A palpable attraction blossoms between the two young women, leading them to gradually dismantle each other’s defenses and culminate in a passionate kiss. The narrative then grapples with the societal pressures and potential repercussions of their burgeoning relationship in an era where identifying as gay carried significant social stigma, posing the question of whether their connection can withstand the summer.
A Familiar Framework, A Fresh Perspective
Hayley Kiyoko, in collaboration with co-writer Stefanie Scott, navigates the established conventions of the queer coming-of-age genre. While some narrative elements occasionally lean on familiar tropes, requiring the audience to fill in certain gaps, the film generally succeeds in imbuing these elements with a fresh emotional core. The supporting characters, with the notable exception of Coley and Sonya, remain somewhat underdeveloped. Trenton, in particular, functions primarily as an antagonist. However, the film cleverly transcends this potential pitfall. Through strategic plot development and Levon Hawke’s tightly controlled performance, Trenton transcends a mere cliché, embodying the archetypal "good-looking jerk" often found in adolescent social circles. Similarly, the genre-mandated misunderstandings and temporary separations, while occasionally feeling driven by narrative convenience rather than organic character development, are skillfully employed by Kiyoko and Scott to propel the protagonists toward new stages of their relationship, fostering a sense of genuine growth.
Directional Nuance and Emotional Resonance
While the screenplay might, at times, resemble a foundational sketch, Kiyoko’s direction elevates the material, immersing the viewer in Coley’s world. The film is imbued with a wistful, gently melancholic tone that masterfully captures the disorienting experience of adolescence, a period characterized by heightened emotions and burgeoning desires, where a path forward is sensed but not yet clearly defined. This atmosphere is further enriched by Jessica Rose Weiss’s evocative score and judiciously selected needle drops, ensuring a consistent and affecting tone that never veers into sentimentality. Kiyoko’s adept command of tone and pacing emerges as her most significant directorial strength. "Girls Like Girls" adopts a deliberate pace, yet it never feels sluggish. Kiyoko commands the audience’s attention by filling ostensibly quiet moments with rich detail. This is evident in extended, contemplative shots, such as a slow pan across Coley’s room to establish her new environment, or in the silent, profound moments of connection shared between Coley and Sonya. Working in close creative partnership with cinematographer Sonja Tsypin, Kiyoko crafts an intimate emotional landscape through the camera. The lens draws closer to the characters with a gentle, unobtrusive intimacy, fostering a deep sense of connection without feeling voyeuristic. Although the film maintains a relatively chaste approach to depicting physical intimacy, its emotional depth is profound. It prioritizes the characters’ internal experiences and emotional journeys over overt displays of desire, focusing on themes of acceptance, empathy, and honesty. This deliberate focus results in a film that resonates with a maturity often absent in comparable narratives.
Performances That Illuminate
Myra Molloy and Maya da Costa deliver performances that are remarkably perceptive in their portrayal of Sonya and Coley’s insecurities. Their shared scenes are consistently revelatory, showcasing a profound understanding of their characters’ inner lives. Initially, the soft-spoken, grieving Coley and the self-assured, flirtatious, and seemingly guarded Sonya appear to inhabit different worlds. Yet, the palpable natural chemistry between the actresses seamlessly bridges this perceived divide, drawing their characters together. The impact they have on each other after acting on their mutual attraction is equally compelling. Sonya begins to exhibit increased introspection and vulnerability, while Coley steadily gains confidence. Da Costa’s nuanced portrayal of Coley’s evolving body language as she blossoms under Sonya’s influence is deeply moving. Molloy, meanwhile, expertly navigates Sonya’s "pretty girl privilege," skillfully employing her physical presence and rapport with others to achieve her objectives, offering a distinctive and memorable interpretation of the popular girl archetype. Molloy’s inherent vivacity is undeniable, and the radiant quality she brings to her interactions makes it effortless to understand why anyone would be drawn to her. Despite Kiyoko’s preference for a naturalistic directorial style, the performances themselves are remarkably vivid, presenting fully realized portraits of two young women navigating the often painful and confusing process of self-discovery.
A Timely Reflection on Queer Adolescence
Adolescence is widely acknowledged as a challenging period, particularly for individuals who identify as LGBTQ+. The very process of coming to terms with one’s identity can be fraught with emotional difficulty, especially within environments that do not foster acceptance. While "Girls Like Girls" is set in the not-too-distant past, the early 2000s represented a significantly different social landscape for queer individuals. The landmark television series "Will & Grace" was just beginning its influential run, and civil unions for same-sex couples were a reality only in Vermont, with same-sex marriage not yet on the national horizon. Although the pervasive fear that shapes Coley and Sonya’s lives may feel less immediate today, the underlying emotions they experience remain universally relatable. By foregrounding these emotions, Kiyoko has crafted a film that serves as a profound gift to young queer audiences worldwide. Her open-hearted approach extends to nearly every character, cultivating a warm and inviting atmosphere that makes the film a genuine pleasure to watch. The film’s patient pacing and grounded storytelling anchor its narrative tropes in authentic emotional experiences, imbuing the story with the specificity required for impactful storytelling. Kiyoko’s direction, characterized by its subtlety rather than overt flashiness, remains perfectly attuned to the characters’ emotional states at every moment. This deliberate choice imbues the film with a hushed, intimate quality, akin to a whispered confidence, effectively highlighting the film’s central themes. "Girls Like Girls" firmly announces Hayley Kiyoko as a filmmaker possessing significant emotional maturity, capable of connecting with young audiences without resorting to the hyperactive stylistic conventions often prevalent in contemporary youth-oriented media. It stands as a particularly resonant and timely film for Pride celebrations and beyond.
Production and Context
The production of "Girls Like Girls" represents a significant milestone for director Hayley Kiyoko, marking her transition from a successful music video director to a feature film auteur. The film’s genesis from a music video to a novel and then to a feature film underscores a growing trend of transmedia storytelling and the expansion of artistic visions across different platforms. The early 2000s setting was deliberately chosen to explore a specific period in queer history, one characterized by evolving social acceptance but still marked by significant challenges and anxieties. This historical context is crucial to understanding the characters’ motivations and the stakes of their relationship. The film’s visual style, characterized by its moody cinematography and intimate framing, was developed in collaboration with cinematographer Sonja Tsypin, aiming to create a visual language that mirrors the characters’ internal emotional journeys. The musical score by Jessica Rose Weiss was integral in establishing and maintaining the film’s distinctive tone, blending wistfulness with moments of quiet intensity. The casting of Maya da Costa and Myra Molloy was pivotal, with Kiyoko emphasizing the importance of finding actresses who could convey the nuanced emotional complexity of their characters with authenticity. Levon Hawke’s portrayal of Trenton aimed to capture a specific type of youthful bravado that masks underlying insecurities, a common character dynamic in adolescent narratives. Zach Braff’s role as Coley’s father, while perhaps smaller in screen time, provides a grounding presence for Coley’s new life.
Broader Impact and Industry Implications
The success of "Girls Like Girls" and the directorial debut of Hayley Kiyoko carry broader implications for the film industry. It demonstrates that artists with established careers in other creative fields can successfully transition into filmmaking, bringing with them a unique perspective and a dedicated fanbase. Furthermore, the film’s focus on a nuanced portrayal of a queer teenage romance contributes to the growing demand for authentic and diverse representation on screen. As the industry continues to grapple with issues of representation and inclusion, films like "Girls Like Girls" serve as important benchmarks, proving that stories centered on marginalized experiences can achieve both critical acclaim and audience engagement. The film’s patient, character-driven approach also stands in contrast to more commercially driven, fast-paced narratives, suggesting a continued appetite for thoughtful and emotionally resonant storytelling. The positive reception of "Girls Like Girls" can encourage further investment in emerging filmmakers from diverse backgrounds and with unique artistic visions, enriching the cinematic landscape for years to come. The film’s ability to connect with a young audience without pandering, while simultaneously offering a mature and sensitive exploration of complex emotions, positions it as a significant contribution to contemporary cinema and a testament to Kiyoko’s considerable talent as a filmmaker.
