American society’s compulsive need to fit people into neatly labelled boxes is usually mirrored in cinematic convention. When categorising romances, we split them neatly down the middle, assigning various expectations depending on whether they are ‘gay’ or ‘straight’. Giant Little Ones attempts to defy these expectations by pursuing a worthy message of sexual fluidity, but fails to do justice to its complex themes.
The film begins like any American teen story, introducing the protagonist, Franky, as a seemingly carefree kid via shots of him cycling through his polished, middle class hometown. Franky, like any 16 year old, is interested in three things: his best friend (Ballas), his girlfriend (Priscilla), and his place on the school’s ultra-macho swim team. Early on, we witness his popularity as he saunters through the school, fist-bumping several other students. He appears to be a conventional heterosexual teenager, even accompanied by a lesbian sidekick, Mouse, whose sexuality is immediately established through a tasteless comment on Priscilla’s ‘rack’.