A star high school football player struggles to confront his sexuality and accept who he really is.
As coming of age movies go, Riley ticks plenty of boxes on paper. But on screen, it’s raw and powerful, untangling the knots of stereotypes and fear within society. Looking first to the writer and director, this is Benjamin Howard’s debut feature, after exploring sexuality through his shorts. This story is inspired by his real-life experience being a high school football player, and how he struggled to embrace who he really was. His script and direction don’t hold back. We visit a multitude of emotions through the characters and reactions, cleverly with flashbacks, to really get to grips with how Howard felt growing up, and how so many people do.
In the film, we follow Dakota Riley on this journey, dealing with the consequences of denying himself of who he really is. Riley is played excellently by Jake Holley, who presents us with a touching and open performance. He displays incredible strength, yet vulnerability in tough scenes, showing his capability as a performer. He’s joined by Colin McCalla and Riley Quinn Scott who play his best friend and girlfriend. Wow, what a rollercoaster we go on with the characters. Craving intimacy and understanding, we see Riley struggle with how the world perceives him, and how he’s treating the people he loves. We share his confusion, not knowing how they truly feel and what they really desire. Sex is a big theme in the film, but it’s always treated with respect in how it’s shown and with whichever characters are involved. McCalla’s storyline, for me, is the most interesting. Playing a fellow football player, we see masculinity broken down, but never fully open to a confirmation. Howard flirts moments with us, but like Riley, we’re often confused by the differences between love and brotherhood these two friends share.
The relationships are written beautifully throughout, and bought to life in such talented ways. I really liked how we were allowed to explore with Riley, and see him tackle the world and his feelings for people as they moved through his life. Situations weren’t easy, and the tricky road was often taken. It made it an emotional watch as I didn’t know how Riley’s story would end. Would he stay with the girl? Would he get with the guy? To see football flickered throughout was a clever way to keep bringing us back to Howard’s true story, and how we can be more than just stereotypes.
One of my favourite elements of this film was the music. There were some perfect choices to bring a spark of joy, and remind us that these people are teenagers in high school, dealing with the fun that brings as well as the harsh realities of life around them. Jerik Centeno worked on the original music, and each piece works beautifully to match the tone of emotions. We also got to see some gorgeous visuals. I loved how DoP Michael Elias Thomas used light, whether neon bulbs on a carousel or shadows reflected from water. It created dreamlike spaces, or showcased a visual anxiety, making the film stand out in more ways than just the story.
It’s occasionally a tough watch, seeing someone deal with hatred from others and themself, but it’s also filled with intimate moments that provide kindness. Overall, Riley is a film filled with hope. It’s for the people going through similar experiences, or those who have and can now see their life on screen. Wonderfully, I think it’ll also appeal to people who want to learn how to support their friends and be good allies.
When asked about the inspiration for the film, Benjamin Howard has said that “the hardest part of my coming out process was coming out to myself.” I think this line resonates with most people who are part of the LGBTQ+ community, whether they’re out or not. We may know who we are but accepting that and living like it doesn’t always come easily. Riley is a beautifully moving piece that speaks to many elements of coming out, but especially focuses on finding our most authentic selves, no matter how long it takes.
Riley is screening as part of BFI Flare Festival
Film stills are courtesy of Windsor Film Company