There are times when a film feels so deeply personal that it could only have been conceived from a true, lived-in experience. Throughout many various scenes in Riley, it frequently felt as if I was looking through a mirror of my own coming out story. Similar to titular character Dakota Riley, I too viewed my sexuality as separate from the vision I had of myself. Riley, a coming-of-age gay drama, perfectly encapsulates one insecure teenager’s journey of owning his queerness. The functionality and familiarity of its machinations will likely speak to so many people in the LGBT+ community, or even those who have ever felt on the outside looking in. An inert rawness adds authenticity to Riley’s oft-told tale of a closeted youth, and standout performer Jake Holley embraces every honest moment.
Superstar athlete Dakota (Holley) has the potential to be the greatest high school receiver in his state’s history. With pressures that high, no one puts more of it on Dakota than himself. Going through the motions to stay in the closet doesn’t necessarily mean the person in question just wants to hide. There are so many ripple effects Dakota makes up in his own mind about what will happen if anyone discovers he may be gay. Thus, how perfectly normal it becomes for Dakota to try dating close female friend, Sklyar (Riley Quinn Scott). At least if their bond can function in any real way, Dakota has actually tried to be with a woman, rather than dabbling in the theoretical.
Throughout Riley, brief glimmers of Dakota hooking up with a random older man are peppered throughout his everyday high school experiences. By structuring the story in this way, the audience remains aware that Dakota will eventually at least commit to having a genuine gay experience. It is almost a balm for the stereotypical stories we have come to expect, wherein a gay boy tries dating a straight girl while at the same time realizing heterosexuality isn’t for him. Riley might sound similar on paper, yet writer/director/editor/producer Benjamin Howard has so much more in store than initially meets the eye.
Living with Dakota and his religious family, at least for the time being, best friend and fellow workout partner, Jaeden (Colin McCalla, Midnight Kiss, The Class), also plays beside him on the football team. Having a straight crush happens to the best of us—unfortunately for Dakota, he just so happens to be currently sharing a room with his. Sexual tension zings through every racy interaction between the duo. From working out together in the gym every morning to sharing masturbatory fantasies in the intimacy of Dakota’s room, Jaeden and Dakota are inseparable. Mostly though, Dakota’s fantasies exist only in his head. The lust makes sense, especially considering their proximity to one another; Howard uses intimate closeups to emphasize the gentleness of a simple touch. Both men’s bodies reflect their status as star athletes. To call them ab-tastic feels pretty apt. Jaeden appeals fondly to the audience, as told through the eyes of Dakota’s constant recollections of the hunky roommate.
Riley carries an authentic quality about it, one which should endear its lead character despite the questionable decisions he tends to make. A clearly gay French partner, Liam (Connor Storrie), falls on the wrong side of Dakota’s journey. Outwardly, Liam presents as everything Dakota should want to be. One character in Riley perfectly explains why living one’s truth can be the surest path to happiness. The internal struggle is too real for those who imagine the world to be a darker, more difficult place if they embrace their true selves. Often, this imagined reality far exceeds the changes after the closet door has been thrown open. Sexually-charged Riley presents an honest, layered depiction of queer identity, serving as a nostalgic balm for old wounds.
Riley comes out of the closet when it screens at 2024’s BFI Flare Film Festival.
