Film Review – Girls Like Girls (2026)

      **Girls Like Girls, 2026.**

      Directed by Haley Kiyoko.

      Starring Maya da Costa, Myra Molloy, Levon Hawke, Zach Braff, Remy Marthaller, Maya Ford, Alozie LaRose, Hunter Dillon, Wayne Corbeil, Sophia Carriere, and Sierra Sidwell.

      **SYNOPSIS:**

      Coley, a 17-year-old from rural Oregon, confronts intimacy in the wake of her mother's death. Her encounter with Sonya ignites new emotions, yet self-doubt obstructs their bond. As Sonya, new to dating girls, grapples with her uncertainty, they both learn to embrace their feelings.

      Co-writer and director Hayley Kiyoko’s *Girls Like Girls* adapts her 2023 novel while also drawing inspiration from a music video of the same title. This connection highlights Kiyoko's evolution from musician to novelist to filmmaker. Alongside Chloe Okuno on the story and Stefanie Scott on the screenplay—known for her role in the *Insidious* films—Kiyoko has crafted a narrative about complex romantic emotions during a time marked by prevalent homophobia, where one character feels compelled to suppress their identity for fear of being ostracized by friends and family. Despite its familiar themes, the film still resonates profoundly. Initially, I mistook the outreach for a film I had already viewed at Sundance, only to discover they were unrelated films with similar narratives set in different locations.

      Although the characters and conflicts may feel repetitive as they tread familiar ground, this story is elevated by its authentic emotional depth and Kiyoko’s personal connection to the content. The mere existence of this film demonstrates that it transcends a simple song; it represents an artistic endeavor Kiyoko felt compelled to share across different formats, broadening its impact for those who can relate to the tale. This serves as a reminder that even if similar narratives emerge annually, it’s vital to continue sharing LGBTQ stories.

      The plot centers on 17-year-old Coley (Maya da Costa), who experiences a transformative move after her mother’s death, taking up residence with a previously distant father (Zach Braff, whose limited screen presence is effectively impactful) and lacking a supportive friend group. This latter aspect shifts following a bullying incident at a lake, where Sonya (Myra Molloy) approaches Coley to apologize for her involvement in the laughter and to express a desire to spend time together. Sonya is sexually attracted to Coley, but she remains in the closet and is entangled with an unpleasantly homophobic boyfriend (Levon Hawke), who fears anything that could lead others to perceive him as gay, preferring to endure discomfort rather than let Sonya apply a pink ointment.

      Coley reciprocates Sonya's romantic feelings but struggles to initiate contact after they exchange AIM profiles. Fortunately, Sonya takes the lead, flirting and eventually sharing moments of intimacy. However, tension arises because Sonya, terrified of her family and friends' reactions if they learn she’s kissing another girl, cannot bring herself to publicly embrace her love for Coley, let alone break up with her obnoxious boyfriend, who can be rather aggressive at times.

      Both girls grapple with complex relationships with their parents. Coley had a tumultuous relationship with her deceased mother and suspects her father’s newfound presence is forced. Meanwhile, Sonya appears to rebel against her overbearing mother, who perhaps pushes her excessively in dance competitions. At one point, Sonya claims she can’t continue their secret romance because of a yearly dance camp, leaving the truth of her statement ambiguous—she may be going to rehab or being sent to conversion therapy. This scene is poignant and unsettling, with both Maya da Costa and Myra Molloy conveying deep emotional pain through powerful performances that elevate the material.

      Ultimately, their journey involves conflicting emotions that lead to heartbreak, as Sonya unintentionally complicates Coley’s feelings while navigating her own understanding of her sexuality. They are teenagers, uncertain about their desires and facing challenges to be their authentic selves. The original score by Jessica Rose Weiss complements the film, alongside noteworthy licensed tracks, including a classic by The Killers during a crucial emotional moment.

      This may be the scene that completely won me over with *Girls Like Girls*, as it occasionally feels more like an expanded music video than a novel adaptation, lacking in substantial depth. However, the rich performances and Kiyoko's deeply personal storytelling merit spending time with these characters as they explore their identities and lives.

      *Flickering Myth Rating - Film: ★ ★ ★ / Movie: ★ ★ ★*

      Robert Kojder