The Huckleberries Vol. 23 - Leviticus & Girls Like Girls

     Obviously we want to have an area for reviewing new films here at The Film Encomium, but we want to send a message with our methodology. That message is a simple one: Don’t forget about the fun. 

Yes, film can be transformative, prophetic, and groundbreaking. It can also be none of those things and still be a damn good time, and we want to validate both of those experiences. If you want to feel true immersion in the emotion of on-screen characters, we recommend Luca Guadagnino; but if you want to become well-rounded, you should also allow the intersectional influence of Dee Rees to infiltrate your fine sphere. 

It is from the balance of Tom Sawyer and Huck Finn that we draw inspiration for the title of this section. Tom is clever; Tom is great. If there were one of those boys we were going to try to get into Harvard, it would be young Mr. Sawyer…but he will always need his Huckleberry. 

We all need our Huckleberries. Art needs its Huckleberries. Sometimes beauty is in the little things and reasoned reflection. Other times beauty is loud, bright, and bold. In the interest of providing our readers with a comprehensive experience, we are not willing to skip The Huckleberries. 

So, with that in mind, here are two exceptional flicks that dropped in theaters recently. The first will show you a story of blossoming young love through a lens of horror. The second will show you a story of blossoming young love through a lens of heartbreak. Enjoy!

Leviticus -

Australian horror is putting the world on notice. It should perhaps not be surprising that people hailing from a place that is constantly trying to kill them are able to touch into fear in a way that seems fresh and innovative to the international community. The newest vessel for these nightmarish visions from Down Under is the feature film debut for Adrian Chiarella; and Leviticus represents his bold leap onto the world stage.

At the heart of this plot is a coming of age tale about two young gay men falling deeply in love with one another. Unfortunately, the oppressive dynamics of their intensely religious community handicap those dreams. The resulting chaos presents us with one of the best Christian Witchcraft movies we’ve seen in recent memory. 

The two greatest catalysts for bringing Chiarella’s vision to life are its co-stars. Joe Bird and Stacy Clausen both deliver gripping, award-worthy performances (although technically at least Clausen’s deserves to be classified as a dual-performance) that both elevate this film and drive it forwards. One of the most desirable byproducts of all these new Australian filmmakers breaking onto the scene is that they are bringing with them waves of Australian acting talent that is equally prodigious. 

This particular ensemble not only showcased the youth movement but also some Aussie icons in the form of Bad Boy Bubby himself Nicholas Hope and Mia Wasikowska–who also contributed her services as an executive producer. Hope steals scenes as the demonic “Deliverance Healer” whilst Wasikowska’s turn as the mother of Joe Bird’s character Naim serves to ground the story in the sort of everyday religious zealotry that is palpable in many communities. 

In a year that has already been blessed within the horror genre, Leviticus adds another iconic production to the pile. The sort of experience that tends to linger with its audience for hours, days, or weeks after seeing it. It will absolutely be an instant classic amongst a couple niche demographics, but also realistically may come to be remembered as a classic without any qualifiers necessary in due time. If you are a fan of either supernatural horror or homoerotic drama, this is worth a trip to the theater. If you are a fan of both, you can go in prepared for it to be one of your favorite films of the decade.                                                                                                                                                                                                                 

Girls Like Girls -

What a journey Hayley Kiyoko’s story has taken to reach this point. It started in 2015 with her song Girls Like Girls, eventually became her 2023 book Girls Like Girls, and has now come full circle into the movie iteration of Girls Like Girls. Fans who have followed the entire process are sure to be ecstatic about the finished product. Rather, what we assume is the finished product. Who knows? Maybe she will go and make a show of it, too. 

What makes the feature-length production of Kiyoko’s deeply personal piece is the same quality that made the previous versions of it successful: Honesty. Although not a strictly autobiographical tale, it’s made plain enough that this is a deeply self-reflective work of art all the same. Being in an audience is like being in any other relationship in many ways, and in a relationship you may not always not be able to tell when someone is lying to you, but you can ALWAYS recognize unfiltered conveyance of their honest truth–and that is precisely what is so compelling and engaging about Kiyoko’s storytelling.

Maya da Costa is the performer at the focal point of this creation, but she receives quality backing from the likes of Myra Molloy, Zach Braff, and Levon Hawke. The raw, emotional portrayals of the central characters help to create a more powerful declaration than some comparable LGBT coming-of-age films have been able to achieve. As da Costa’s Coley learns to stand her ground in the face of the chaos of adolescence, it’s hard not to form a lasting bond with her. 

This is a cinematic marvel in its ability to embroil the viewer in the madness of youth. It is hectic, confusing, and at times uncomfortable–but that’s the point. If you are looking for the next summer blockbuster this isn’t what you are looking for, but if you are in the mood for a charming and brutally truthful look back at the pains of growing up just a little bit different, this is your place to be. Thanks for letting us into your world, Hayley. Olive juice you too.    

~The Film Encomium~