Following the critically acclaimed film “Good Luck to You, Leo Grande,” which showcased Emma Thompson’s talents and offered a frank discussion about an older woman’s sexuality, director Sophie Hyde ventures back into territory reminiscent of her debut film, “52 Tuesdays” (released in 2014). That movie, a winner for direction at Sundance, felt deeply personal. Her latest work, “Jimpa,” builds upon this intimacy, as it draws inspiration from the death of Hyde’s father and features her nonbinary teenager character portraying a 16-year-old who appears to be similar to themselves. Heartfelt and acted with genuine compassion by a talented cast headed by Olivia Colman and John Lithgow, “Jimpa” is a film that exudes sincerity.
frankly speaking, it’s rather dull and awkward, similar to being trapped in a room filled with overzealous students from a queer studies class, always sharing too much. Not even the intriguing spectacle of Lithgow frolicking in an Amsterdam sex dungeon, adorned only by a leather vest and nipple ring, seems to breathe any excitement into it.
To put it bluntly, it’s quite boring and uncomfortable, much like being stuck in a room with over-enthusiastic students from a queer studies class who never stop talking. The scene of Lithgow playing in an Amsterdam sex dungeon, wearing only a leather vest and nipple ring, doesn’t seem to add any energy to it.
Both versions aim to convey the same idea while using slightly different wording and phrasing.
Hyde and his co-writer Matthew Cormack are commendable for portraying queer culture as a broad, diverse spectrum rather than a unified whole. This spectrum can include various factions that may overlap or clash. Notably, the character of Frances (played by Aud Mason-Hyde), who is well-adjusted, does not revolve around themes of trauma or self-discovery regarding gender identity. Instead, the film offers more symbolic representation than a compelling narrative plotline.
It seems that Hyde is focusing on the significant variations among three generations of individuals identifying as LGBTQ+, even within the same family. This is evident in the subtleties of self-identification and the growing irrelevance of strictly categorizing people based on binary classifications, be it gender or sexuality.
It’s clear there’s potential for an impactful movie exploring the ideological gap between the pioneers of gay rights, AIDS awareness, and sexual freedom movements, and later generations who entered a more open and accepting world, though still facing struggles. Regrettably, this isn’t the film that accomplishes that task.
As an Aussie gamer, I’m role-playing as Colman, a cinematic artist from Adelaide who brings to life Hannah, a character creating a film about my parents’ peaceful divorce after Dad (Lithgow) confessed he was gay. Instead of confrontation, we opted for compassion, which leaves some funding bodies and actors questioning, “Where’s the flick?” It seems they believe that without drama, there isn’t a story.
Hannah had pushed the reason her father left them when she was 13, to pursue a larger life than Adelaide could offer, into the background as a justification. Gradually, more about her parents’ separation is disclosed, but it doesn’t have much of an effect. It isn’t certain if Hannah’s mother, Catherine (played by Deborah Kennedy), knows about the film project, but it’s clear that Jim, now residing in Amsterdam and continuing his fight while enjoying its offerings non-monogamously, is not aware of it.
Hannah intends to share the news about the movie with her father when she, along with her seemingly flawless spouse Harry (Daniel Henshall), bring Frances to meet Jimpa – affectionately known as such. It appears that Jimpa playfully addresses Frances as his “grandthing,” which only makes the situation more troubling. However, the teenager’s revelation of their desire to stay with Jimpa and complete a year of high school in Amsterdam causes worry for their parents.
Since Hannah and Harry excel in being nurturing parents, neither wishes to be the one to refuse. They believe that Frances might understand it’s a poor decision after spending some leisure time with Jimpa during their vacation.
Frances has long admired their grandfather for his lifelong dedication to community activism and his daring decision to pursue life on his own terms, leading him to academia. His bright home by the canal, filled with a never-ending flow of friends, partners, and LGBTQ+ youth, seems like an ideal LGBTQ+ utopia. It’s during Jimpa’s gathering for family visitors — where the entertainment is a muscular, shirtless man in a leather harness singing Puccini — that Frances encounters the more experienced 19-year-old Isa (Zoë Love Smith).
I step into a brand-new realm of exploration as I embark on my first romantic relationship. For the very first time, I experience intimacy under the warm, dappled sunshine of a gay cruising ground – a verdant expanse that feels like a sex-positive paradise! Surrounding me are Isa and her vibrant queer companions, who present an exhilarating introduction to a more open-minded sexual world compared to my past, which had been confined to the academic realms of gender studies.
It’s rather disheartening when these admired figures, along with their group of elderly companions who are known for their sharp wit and sudden outbursts of “Don’t Leave Me This Way,” unveil their limited perspectives regarding the spectrum of sexuality. One might assume that in a movie about LGBTQ+ issues, such a statement as “queer used to mean something different” would be obsolete. However, one would be mistaken.
The tension doesn’t escalate into anything particularly engaging beyond Frances sulking by a canal momentarily. However, the situation changes when Jimpa transitions into a different narrative, as a health crisis triggers Hannah’s prickly sister Emily (Kate Box) to act. This emergency also refocuses attention on Hannah, who is grappling with her complex emotions towards Jim and must decide whether to reveal the truth about her parents’ divorce in her film or smooth over the storyline inconsistencies. Unfortunately, this doesn’t necessarily create captivating drama either.
This film is rich with well-meaning messages, exploring themes of love and support in various family structures, including both traditional and chosen ones among LGBTQ+ individuals. It also highlights the challenges that gender nonconforming people encounter, even within these communities. Moreover, it delves into the struggles of a generation of gay men who fought on the frontlines against AIDS, never anticipating they would reach their senior years due to this pandemic.
However, Cormack and Hyde’s script occasionally appears overly reliant on LGBTQ media references, making the characters feel more like stereotypes than real individuals. Despite commendable performances from the actors and a deeply personal touch from the director, the family portrayed in this drama is so unwaveringly accepting that they seem almost saint-like. This lack of flaws or struggles makes it challenging to connect with them on a deeper level as authentic characters.
Occasionally, it seems like I’m playing a role in a satire of the most intense Sundance movie, straight out of an SNL sketch. Here, Hannah, Harry, and Frances are all plant-based enthusiasts; Hannah leads intimacy seminars with actors, while 40-something Harry still cruises on his skateboard (I think Henshall deserves more). Hannah engages in deep conversations about compersion and polyamory with Frances. It’s weird but intriguing that a mother and, yes, a 16-year-old child enjoy baths together with milk… let’s just say it’s not something I can wrap my head around, but it’s definitely unusual.
In simpler terms, I recall a somber era when queer individuals lacked nuanced and thoughtful portrayals on screen, but unfortunately, I found myself cringing through many scenes of the heartfelt movie “Jimpa“. At least the city of Amsterdam appears beautiful.
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2025-01-24 03:55