Written and directed by Keith Behrman, GIANT LITTLE ONES excels in sharing a refreshingly complex and contemporary take on teenage sexuality. Instead of the usual gay images and activities portrayed in other films that survey the coming out as LGBTQ+ teenagers, this film refuses to settle for easy answers or opinionated definitions.
Franky Winters (Josh Wiggins) and Ballas Kohl (Darren Mann) have been friends since childhood and in high school both are on the swim team. Their parents - Carly (Maria Bello) and Ray (Kyle MacLachlan) Winter (who after having his family came out as gay) and Angie (Stephanie Moore) and Nic (Peter Outerbridge) Kohl - likewise have been friends. Both Franky and Ballas begin the film with steady girlfriends: Ballas in an act of classic machismo, talks constantly of how many times they've had sex, egging Franky on to do the same. After Franky's 17th birthday party the two boys have a hidden sexual experience with each other, and Ballas, who initiated their fateful encounter, pulls away from Franky and accuses him of making the first move, which results in his being bullied at school. In the end, Franky becomes close with Ballas's sister Natasha (Taylor Hickson), who experienced her own ostracization after being slut-shamed, as well as with Mouse (NIamh Wilson), a possibly transgender friend who brings considerable comedy and tenderness to their friendship. Wiggins imbues Franky with insight and plenty of charm, a fallen golden boy and star swimmer who nonetheless remains comfortable with his own identity throughout. The film is less one about coming out than it is one of gentle, nuanced self-discovery. Franky's sexuality is never firmly settled and that ambiguity is part of makes the film feel so brave.
Not only is the film beautifully written and directed, but the cast is golden - not just the teenage roles (superb as they are) but also the roles of the parents and the swim coach: each role, especially those as depicted by Maria Bellow and Kyle MacLachlan, are Oscar worthy. Josh Wiggins is exceptionally impressive as the understated closeted gay teen, never pushing either side of the sexual playing field. In all, this is one of the finest and most genuinely sensitive films about LGBTQ+ crises and satisfactions of discovery.
Franky Winters (Josh Wiggins) and Ballas Kohl (Darren Mann) have been friends since childhood and in high school both are on the swim team. Their parents - Carly (Maria Bello) and Ray (Kyle MacLachlan) Winter (who after having his family came out as gay) and Angie (Stephanie Moore) and Nic (Peter Outerbridge) Kohl - likewise have been friends. Both Franky and Ballas begin the film with steady girlfriends: Ballas in an act of classic machismo, talks constantly of how many times they've had sex, egging Franky on to do the same. After Franky's 17th birthday party the two boys have a hidden sexual experience with each other, and Ballas, who initiated their fateful encounter, pulls away from Franky and accuses him of making the first move, which results in his being bullied at school. In the end, Franky becomes close with Ballas's sister Natasha (Taylor Hickson), who experienced her own ostracization after being slut-shamed, as well as with Mouse (NIamh Wilson), a possibly transgender friend who brings considerable comedy and tenderness to their friendship. Wiggins imbues Franky with insight and plenty of charm, a fallen golden boy and star swimmer who nonetheless remains comfortable with his own identity throughout. The film is less one about coming out than it is one of gentle, nuanced self-discovery. Franky's sexuality is never firmly settled and that ambiguity is part of makes the film feel so brave.
Not only is the film beautifully written and directed, but the cast is golden - not just the teenage roles (superb as they are) but also the roles of the parents and the swim coach: each role, especially those as depicted by Maria Bellow and Kyle MacLachlan, are Oscar worthy. Josh Wiggins is exceptionally impressive as the understated closeted gay teen, never pushing either side of the sexual playing field. In all, this is one of the finest and most genuinely sensitive films about LGBTQ+ crises and satisfactions of discovery.