Behrman sidesteps overt sentimentality, captures some heartrending moments and most importantly, doesn’t resolve everything with a neat “happily ever after” conclusion. The lasting impression Giant Little Ones casts may not be “giant” – but it’s certainly not “little” either.
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This is a confidently shot and beautifully acted story that manages to transcend quite a few — if clearly not all — of the coming-of-age genre’s cliches by delving into how the Millennial generation experiences sexuality, ostracism and growing up and how they try to relate to their parents and peers.
[A] tender but untimid drama.
Keith Behrman’s film comprehends the malleable, often inscrutable nature of desire.
Writer/director Keith Behrman knows exactly what he’s doing when introducing a variety of people along the sexuality spectrum in his latest film Giant Little Ones. He’s intentionally flooding his canvas so that we have no choice but to accept them all rather than turn our focus onto just one.
Both boys are good, and Kyle MacLachlan gives a tender turn as Franky’s gay dad. But the sheer amount of issues shoved in here is overpowering.
Sensitive performances, mature and self-assured direction, and understated writing make Keith Behrman’s Giant Little Ones an emotionally involving, above-average coming-of-age story with a profound impact and mercifully few clichés.
It’s all a bit on-the-nose, but writer-director Keith Behrman keeps it topical and touching, even if he never quite transcends prioritizing that topicality.
Where many coming-of-age films build their stories around the discovery of a fixed selfhood, “Giant Little Ones” succeeds when it chooses to treat youthful identity as open to shift with accumulated experience.
Though hardly radical, Giant Little Ones’ advocacy for empathy is warmly argued — perhaps encouraging you, in kind, to forgive this slight film’s shortcomings.