If you’ve ever wondered what happens when two best friends in the age of discovering life discover something sharper than they bargained for, Very Good Girls is your not-quite-summer-breeze, not-quite-windstorm answer. It’s a movie that tries to build a summer of firsts on the leaning tower of teenage longing, with two standout performances that almost amp up the stakes of a coming-of-age tale without tipping into melodrama. It’s not flawless, but it’s honest, and honesty can feel very good indeed.
Plot at a glance (spoiler-light)
Lili and Kate, best friends navigating the sun-drenched, roller-skating outskirts of NYC suburbia, find themselves newly curious about love, desire, and the messy lines between them. When they meet a charismatic older boy, their world tilts—friendship gets tested, boundaries blur, and the awkward comedy of adolescence collides with a steadier, aching ache to belong. The film follows their decisions with a light, observational touch, punctuated by small moments that land with surprising gravity.
Cleverness you can feel (and not just see)
What makes Very Good Girls feel fresh is its commitment to the small, almost documentary-grade beats of teenage life. The film isn’t chasing blockbuster fireworks; it’s tracking the quiet tremors that happen when you realize you’re not the person you thought you were, and that realization comes with a complicated tangle of desire, guilt, and curiosity. The writing leans into restraint—moments are allowed to breathe, to see what a glance can reveal, to let a line spoken in a car ride carry more weight than a loud monologue would.
Performances that matter
Dakota Fanning and Elizabeth Olsen carry the film with a tenderness that is both bold and vulnerable. Fanning renders Lili with a practical, skeptical cool that makes the character’s naïveté feel earned rather than manufactured. Olsen’s Kate registers a more ethereal longing—more dreamy, more willing to indulge in the fantasy while still needing to come back to earth. Together, their chemistry is the film’s secret engine: a friendship that feels fiercely real, imperfect, and essential.
Direction and tone
Naomi Foner’s direction balances nostalgia with a modern palate—this isn’t a glossy throwback; it’s a contemporary, sometimes bruised portrait of youth on the edge of adulthood. The film uses light, summer textures and a quiet, patient pace to mirror the characters’ inner worlds. It doesn’t slam you with drama; it tunes you to the tremor in a shoulder, the way a late-night conversation can become a turning point.
Visuals and music
The cinematography favors sunlit exteriors and intimate interiors in a way that makes the setting feel almost tangible—the smell of sunscreen, the hum of a city block in late afternoon, the awkward charm of a first kiss under a streetlamp. The soundtrack is observant rather than overpowering, blending into the scenes so you notice the mood more than the music. It’s precise, not showy.
Themes that resonate
- First love vs. first self: The film explores how affection can become a mirror for who you’re becoming.
- Friendship under pressure: Lili and Kate’s bond is the spine of the story, enduring even when it’s stretched thin.
- Agency and consequences: The characters’ choices spring from a place of curiosity, but the consequences remind them—there is no free pass in growing up.
- The ache of possibility: The film captures that universal feeling of knowing there’s more out there, and wanting to reach for it.
Spoiler-ish notes (for readers who want to know whether to dive in)
If you prefer to know whether the film goes to a heavy place: it does, but not with melodrama; it leans into realism, sometimes awkwardly so. The ending offers a grounded, not-too-neat sense of closure—like a last summer night that refuses to be fully explained but hints at what comes next.
What works better than it doesn’t
- The central relationship holds the film up when other elements wobble. The friendship’s texture is what makes the movie feel intimate rather than distant.
- The restraint in scenes that could veer into cliché is refreshing. It’s easy to slip into sensationalizing teenage longing; Very Good Girls avoids that trap by letting authenticity guide the tone.
- The film treats sexuality with curiosity rather than sensationalism. It’s more about discovery and responsibility than shock value.
What could have been sharper
- Some plot threads feel underdeveloped. A few scenes hint at deeper backstories or broader implications that could have been explored, leaving a touch of ambition unfulfilled.
- The pacing occasionally lingers in mood without advancing the characters’ arcs as much as it could. A tighter edit might have sharpened the emotional throughline.
Who should watch it
- Kids who remember the uneasy thrill of early crushes and the rough edges of friendship in adolescence.
- Viewers who enjoy character-driven drama that respects realism over fireworks.
- Fans of Dakota Fanning and Elizabeth Olsen who want to see them in a more nuanced, quiet-drama space.
Verdict: a very good film that earns its stripes
Very Good Girls doesn’t pretend to have all the answers about growing up. It offers a thoughtful, well-acted snapshot of two friends negotiating desire, fear, and the responsibilities that come with both. It’s not flashy—it's precisely the kind of indie drama that rewards patient viewing and careful attention to performance and mood. If you want something reflective, intimate, and a little wistful about summers that feel too short, this is a very good pick.
Final thought
If you’re in the mood for a film that quietly asks big questions about identity and loyalty, with two performances that linger after the credits roll, Very Good Girls is worth your time. It’s not a blockbuster, but it is a well-crafted small-scale gem that resonates with the messy beauty of growing up. Give it a watch, then keep the conversation going about what those early years really do to shape who we become.
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