So many people endure bad breakups--but they cannot get outside of their own perspective. They see two roles--victim and evildoer. There is no subtlety. This isn't a fun story to watch or to read. What moves me about Hayley Kiyoko is that she can fully envision multiple sides of one story. In a clearly autobiographical tale ("Girls Like Girls"), young Hayley falls in love. She discloses details about her past. Somehow, the details become "public"--Hayley immediately concludes that her crush, Maya da Costa, has spilled the beans. This isn't fair to Maya da Costa. (And the allegation is false.) At the same time, Maya da Costa is a mess--struggling with the idea of coming out of the closet, reversing herself without attempting an explanation. It's fun to see these two circling each other. I am not sure anyone in an audience would fail to "relate." Happy to have spent time with this film.
Jane Kenyon did extraordinary work with syntax; she did extraordinary work on the topic of antidepressant medications. With the wonder and bitterness of someone pardoned for a crime she did not commit I come back to marriage and friends, to pink fringed hollyhocks; come back to my desk, books, and chairs. Another gift Kenyon had was to build an unusual list: "friends, hollyhocks, desk, books, chairs." ("Happiness comes to the boulder in perpetual shade, to rain falling on the open sea, to the wineglass, weary of holding wine....") Having been returned to life by a monoamine oxidase inhibitor, Kenyon feels skeptical: Unholy ghost, you are certain to come again. Coarse, mean, you'll put your feet on the coffee table, lean back, and turn me into someone who can't take the trouble to speak; someone who can't sleep, or who does nothing but sleep; can't read, or call for an appointment for help. There is nothing I can do against your coming. When I a...