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Lily and Alison are best friends, unhappy teenagers coming of age on the photogenically desolate shores of California’s storied Salton Sea. That salty, accidentally man-made body of water, with its shoals of calcified fish and bird bones under a relentless desert sun, supplies both a bleak atmosphere and some convenient metaphors for “Little Birds,” Elgin James’s Sundance-incubated debut feature, which follows Lily and Alison on a journey from boredom to danger.

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Lily (Juno Temple) is the more troubled of the two — angrier and more prone to impulsive and self-destructive behavior. She lives with her mother (Leslie Mann), who is identified as a Bad Mom in the usual movie shorthand (smoking, getting dolled up to go out drinking, bringing home strange men). The other adult woman in Lily’s life is an aunt (Kate Bosworth) who lives, at wit’s end, with a toddler and a husband suffering from severe brain damage as a result of a war injury.
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Alison (Kay Panabaker) is almost lucky by comparison. Though her widowed father (David Warshofsky) is too depressed to play much of a role in her life, she has a surrogate in the person of Hogan (Neal McDonough), a wise and kindly rancher whose horses she helps tend. When Alison asks him why he doesn’t live somewhere else, Hogan responds with a long story about his youthful travels to exotic lands, the upshot of which is that people are cruel and selfish everywhere, so you might as well stay home.

It is hard to say whether Mr. James wants to prove Hogan’s point or dispute it. His view of human behavior is at once harsh and sentimental, and his grasp of the psychology of his characters — Lily in particular — does not always seem solid or consistent. “Little Birds,” much like Alison, regards Lily with a mixture of sympathy and horror. But it also, in a literal sense, fixes her with a prurient, almost predatory gaze, and the camera lingers over her young body in various states of exposure.

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I don’t think Mr. James intended to make a creepy, exploitative movie about teenage runaways — or, for that matter, a moralistic, cautionary tale of girls gone bad. But those are the default categories that “Little Birds” stumbles toward, perhaps because the filmmaker has not found a cogent way to channel his curiosity or his empathy. There are some tough, tender, loosely structured scenes of Alison and Lily together, and, after they light out for Los Angeles, some moments of raw lyricism between Lily and her skateboarder beau, Jesse (Kyle Gallner).

He and his pals, feral lost boys of the Southern California dream, widen the rift between Alison and Lily and propel the movie toward a violent, ugly climax. It is impossible not to worry about these young people, but also a little too easy to be shocked at their wild, antisocial ways. And, above all, it is hard not to be reminded of other movies — like Larry Clark’s “Kids,” Nick Cassavetes’s “Alpha Dog,” Andrea Arnold’s “Fish Tank” — that explore similar territory with greater risk and originality.