Tag: Flare Festival

Categories
Uncategorised

BFI Flare Festival 2021: Roundup

BFI Flare Festival is an important event that showcases films made by and revolving around the LGBT+ experience. Having followed the festival for years, I was given the chance to cover the festival and it did not disappoint. From the incredibly opener Jump, Darling to an array of biopics on iconic LGBT+ figures, this year’s festival left me spoilt for choice and it was really exciting to see lots of films from emerging filmmakers showing their debuts. I managed to watch eight films in total and I was really impressed with each one. I wanted to watch films from all kinds of countries and managed to see films from Canada, Estonia, New Zealand and Finland to name a few. This allowed me to see varying approaches to filmmaking and made it really exciting with every film. Each film impacted me in some way whether it was the topic, a performance or some other aspect of the filmmaking.

As usual, I have done my little awards which was really difficult because each of these films were full of strengths. They were all so different that it was hard to pick a winner for each category. After many hours of deliberating, I have finally managed to select the winners.

Here are the Smaller Pictures Winners of BFI Flare Festival:

Best Picture â€“ Tove

Best Director â€“ Zaida Bergroth for Tove

Best Leading Actor â€“ Elz Carrad for RÅ«rangi

Best Leading Actress â€“  Alma Pöysti for Tove

Best Supporting Actor â€“ Shiv Palekar for The Greenhouse

Best Supporting Actress â€“ Cloris Leachman for Jump, Darling

Best Original Screenplay â€“ Eeva Putro for Tove

Best Adapted Screenplay – Peeter Rebane and Tom Prior for Firebird based on The Story of Roman by Sergey Fetisov

Best Debut Screenplay â€“ Katie Found for My First Summer

Best Original Score (TIE) â€“ Freya Berkhout for The Greenhouse and Matti Bye for Tove

Best Cinematography â€“ Carl-Friedrich Koschnick for Enfant Terrible

Best Editing â€“ Thea Aae for Boy Meets Boy

Best Production Design â€“ Oskar Roehler for Enfant Terrible

Best Costume Design â€“ Marjatta Nissinen and Mare Raidma for Firebird

Best Hair and Makeup â€“ Tove

It goes without saying that each of the films are worth a watch. What was so great about the selection of films that I was able to watch for the festival is the range of topics and scope of setting available. There really was a film for all kinds of fans so whether you like experimental films or prefer traditional biopics, BFI Flare had you covered.

So with BFI Flare done, that means I have had the chance to cover three festivals now and it is still super exciting every time. Being able to see films from emerging and established filmmakers is always a brilliant opportunity and BFI Flare has not disappointed. All explore the LGBT+ experience and perspective in varying ways making it wildly unpredictable as well as important. All of the films are guaranteed to stay with you long after you finished watching them.

Here are the links to the reviews if you want to learn more about them:

Boy Meets Boy

Enfant Terrible

Firebird

The Greenhouse

Jump, Darling

My First Summer

RÅ«rangi

Tove

Categories
Uncategorised

BFI Flare Festival 2021: Firebird

The last film on my BFI Flare Festival watchlist was Firebird, a period drama based on a true story set in Estonia during the Cold War. Following Private Sergey Fetisov (Tom Prior) who is serving the last few weeks of his military service and finds himself in a relationship with Roman (Oleg Zagorodnii), a fighter pilot visiting the base. Based on Fetisov’s memoir The Story of Roman, Firebird follows the author’s story as he finds himself in a love triangle with Roman and his best friend, Luisa (Diana Pozharskaya). The military setting provides the contrast with the men’s desire to be free with each other as the threat of punishment looms over throughout the film.

Directed by Peeter Rebane from a script cowritten by Rebane and Tom Prior, this is clearly a passion project and the respect and love for the film’s subject and story is evident from start to finish. Rebane utilises the setting of the film through beautiful use of location. The standout in this film’s production is how Rebane makes an open space feel incredibly claustrophobic to a point where we can physically feel Sergey’s entrapment as he has to deal with the reality of the situation. The film feels split into two parts with the first half exploring life on the military base and the love between the men blooming and the second half follows Sergey to Moscow where he is attending drama school and his reconnection with Roman.

Cowriter Tom Prior also leads this film as Sergey Fetisov. Capturing Sergey’s conflict as he tries to figure out what he wants from life to the revelation that he has fallen for Roman. Prior’s performance is clearly well researched and brings Sergey’s struggle to the surface. His perspective is the audience’s way into this world and the clash between the strict regime that he is living which contrasts against his own artistic leanings. Clearly an outsider from the beginning, we see him breaking the rules at the start of the film as he goes for a midnight swim with Luisa and a friend. The scene in which Sergey attends Roman and Luisa’s wedding is heartbreaking as he knows that he has lost the love of his life. Prior’s performance in this scene as he sees Roman after a long time is a revisit to the trauma that he experienced having to leave all over again. Prior provides a great leading turn that portrays the subject with passion and respect.

The second lead in the film is Oleg Zagorodnii who really captures Roman’s plight. Whereas Sergey is fulfilling his compulsory service to the military, Roman has established himself and risen in the ranks to Lieutenant. When Sergey suggests the two of them leaving for Sweden, Roman doesn’t even consider the thought because of his loyalty to his country. The irony in this is that the country he is so loyal to forbids him from being with the person he wants to spend his life with. Zagorodnii’s performance is full of heartbreak in a subtle way. Because of his high ranking position in the military, there is more intensity when a report is filed stating that he is gay. The scene in which the Colonel searches his room to find his unknown lover is horrific and highly intense as we know Sergey is there. The moments in which Roman has to publicly reject Sergey and lie to protect both of them is where Zagorodnii shines in his performance.

In support, Diana Pozharskaya is a star in the making as Luisa, Sergey’s best friend who was initially set on planning their future together. Diana isn’t in the film nearly as much as I would have wanted her to be as she is such an intriguing character. We get to see different sides to her through brief scenes such as when she encounters a childhood friend in the street who has recently married and had a baby. Luisa finds herself unknowingly trapped in a love triangle as she diverts her attention from Sergey to Roman. Pozharskaya plays Luisa as a character with strength rather than a typical passive character that we are so used to seeing from female characters in war time dramas. In particular, her performance in the final scene of the film sums up the torment and heartbreak that has lingered through the film.

Overall, Firebird is more traditional in its topic and structure but still packs a punch. Delving into the heartbreak and trauma that comes with being an outsider in a society where people will do anything for their country. The conflict between doing what is expected from society and what the individual wants to do creates a story that is heartbreaking, gripping and unpredictable. Featuring a slew of great performances, this film is sure to strike a chord with many audiences, especially those who like their period dramas.

Firebird is showing at the BFI Flare Festival.

Categories
Uncategorised

BFI Flare Festival 2021: Enfant Terrible

Another biopic that I wanted to catch at BFI Flare was Enfant Terrible. Following filmmaker Rainer Werner Fassbinder’s rise as an auteur and his struggle with addiction was never going to be the most comfortable watch. Directed by Oskar Roehler from a script written by Klaus Richter, Enfant Terrible stars Oliver Masucci as Fassbinder in a biopic that follows the usual linear structure as expected from the genre whilst also adding in techniques inspired by the film’s subjects. Fassbinder has garnered a reputation for his abrupt approach to filmmaking, often breaking the rules and ignoring the advice of those who prefer traditional filmmaking. Trained in theatre directing before films, we see how this theatrical backstory feeds into his creative process and the end result is a film that wouldn’t look out of place in Fassbinder’s own filmography.

Roehler’s directorial approach seems to be inspired by Fassbinder’s theatre background. Since it is a biopic, it is character driven and therefore the stage like direction works really well. Just as Fassbinder was known for his highly intense filmmaking techniques, Roehler applies this. Although Fassbinder is a highly celebrated filmmaker in terms of his output, it was no secret that he had a fair share of problems and was known for his turbulent relationships and unpredictable behaviour. This unpredictability is what drives the film, even though it is a biopic and you can research what happens in his life previously. Roehler allows us to see the many sides to Fassbinder from his moments of inspiration to the darker moments of abuse and addiction. We are not expected to like Fassbinder at the end of it but to see how his creative process worked and the positive and negative impacts it had on the people around him.

Klaus Richter’s script follows the usual biopic formula and spans Fassbinder as an aspiring filmmaker all the way through to his death from a drug overdose at the age of 36. Although there are segments of the film that explore Fassbinder on set as he is making his films, the main focus is around the man himself and how he acts away from the character. Showing his volatile side, we are introduced to his stubborn and abusive nature from the outset as his unorthodox methods make everyone around him uncomfortable. Whereas a lot of biopics like to showcase the positive achievements of their subject, Enfant Terrible shines a more critical view of Fassbinder, especially as the success begins to feed his ego. It does seem a bit unbalanced at times as you question why his friends and entourage stay with him when there are very few moments of vulnerability or kindness.

Masucci’s performance as Fassbinder is insanely good. When playing a person like Fassbinder, you have to push the boundaries and Masucci does this with ease. He is no stranger to playing controversial characters as he is best known for playing Adolf Hitler in the 2015 satire Look Who’s Back so becoming such a large character like Fassbinder is the perfect challenge for him. His performance is heavily layered as we don’t fully understand why Fassbinder makes the choices he makes initially but as the film unfolds and the director begins to find fame and success, we begin to see his emotions rise to the surface. It is almost as if Fassbinder becomes aware of his own mortality and his limitations. Initially set on becoming a successful film director, his personal life soon overrides his career and it’s difficult for the world to differentiate the artist from the art.

The production design by director Oskar Roehler is clearly inspired by stage plays in construction. Considering the subject and the dark topics explored, it makes for a brilliant contrast and makes the film beautiful to look at. The expressionist colouring sets the atmosphere and can make the scenes even more intense. Roehler makes the most of the space involved in his scenes and the production design feeds into this as the scenes can run for longer periods of time.

Overall, Enfant Terrible is a film that focuses on the artist rather than the art. Fassbinder’s controversial behaviour probably isn’t surprising to most film fans who are aware of the background but Masucci’s strong performance is hard to ignore. Chronicling Fassbinder’s rise to fame and ultimate death, we get a glimpse into how success can afflict someone positively and negatively. As the filmmaker becomes more successful, his films are widely acclaimed but his demons get the best of him. Avid Fassbinder fans may not learn anything new from this biopic but it is a great film to watch for its interesting direction and strong leading performance.

Enfant Terrible is showing at BFI Flare Festival.

Categories
Uncategorised

BFI Flare Festival 2021: Tove

Another film that I was especially keen to watch at this year’s BFI Flare Festival was Tove, a biopic about Tove Jansson who is known as the creator, author and illustrator of the Moomin book series. Directed by Zaida Bergroth from a screenplay, written by Eeva Putro, the film follows Tove (Alma Pöysti) and her life before and during her success as an artist. Her turbulent career as a traditional artist and her reluctance to follow in her father’s footsteps brings in a lot of initial problems. A chance encounter with aristocratic theatre director Vivica Bandler (Krista Kosonen) at a gallery opening sparked a love affair between the two women and a friendship that would last through their lifetime. Tove was entered by Finland for the Best International Film Award at the upcoming Academy Awards but sadly did not make the shortlist. This is such a shame as it is a very strong film that deserves to have a wide audience.

Zaida Bergroth’s direction is brilliantly as we become immersed into Jansson’s world at the end of the Second World War. With sole focus on Jansson, there are no scenes in which she doesn’t grace the screen ensuring that the audience really is seeing the world through her eyes. The screenplay by Putro is beautifully paced and gives an in depth glance into one of Finland’s famous figures. Tove is a film that doesn’t force the events to happen to its protagonist but simply let them happen naturally as the film unfolds. Feeling natural and authentic, the minimalistic approach has sprinkles of absurd moments such as the first moment of the film where we see Tove dancing to jazz music by herself. This film paints the perfect picture of an author who has inspired and captivated many throughout the world.

Alma Pöysti’s performance as Jansson is fantastic and reminded me a lot of Marion Cotillard’s performance as Edith Piaf in La Vie en Rose in that she drives the film and elevates the whole experience. Pöysti is captivating from the very first second you see her onscreen to the last thanks to her layered characterisation that showcases her inner conflicts with both her art and personal life. There is no doubt that Jansson was most comfortable when able to express herself how she wants and so she surrounds herself with the people and art that are going to allow her to do this. Blasting jazz music and working tirelessly on her Moomin universe, Jansson seemed to be an otherworldly creature and Pöysti pulls this off. Pöysti doesn’t overplay the character nor does she force the emotions to come to the surface. What makes her performance so special and unique to watch

Krista Kosonen is great in support as Vivica Bandler, the woman who stole Jansson’s heart. Initially paying for Tove’s services to design a party invitation, the relationship between the two women quickly evolves to a romance that becomes turbulent over the years. Kosonen is a great onscreen partner for Pöysti and the scenes between them are filled with tension and chemistry. Whereas Tove is more introverted and working endlessly on being accepted by the City as a certified artist, Vivica is extroverted and confident in herself. Initiating the relationship with Jansson, Bandler’s portrayal is one of manipulation and mixed signals as Jansson doesn’t know what to expect when she next sees her. Kosonen portrays Bandler as hard to read and unpredictable and the status of their relationship propels the film’s events forward as they work together on adapting the Moomins for the stage.

One thing that stood out to me in this film was the score and soundtrack. The original score composed by Matti Bye is beautiful and unpredictable and reminded me a lot of Jonny Greenwood’s score for Phantom Thread. Bye’s score works so well as it reflects the turbulence and conflict Tove is feeling and rises it to the surface. The classical sound contrasts with the soundtrack choices which contains a lot of jazz music. This chaotic mix of classical and jazz only serves to highlight Jansson’s own position as a child of prominent, traditional artists whilst also remaining progressive in her style and refusing to conform who live to the expectations set out for her.

Overall, Tove is an exceptional film that does a great job of showing Tove’s struggle to be seen in an industry that is dominated by men that also rely on the traditional aesthetics. Tove is often known for her work on the Moomins and while this aspect is shown in the film, the central focus relies on Tove as a person first. Pöysti’s performance is fantastic and should be discussed widely as it is a true tour de force. She becomes Jansson and pulls it off with ease that we forget we are even watching a biopic.

Tove is showing at this year’s BFI Flare Festival.

Categories
Uncategorised

BFI Flare Festival 2021: RÅ«rangi

The fourth film on my BFI Flare watch list is RÅ«rangi, a project set in the titular village which is a politically divided area in New Zealand. Initially ordered as a five episode web series, this is being presented as a full feature film at the festival. Following Caz (Elz Carrad), a transgender man who returns to RÅ«rangi to see his father who doesn’t know that he has transitioned. Directed by Max Currie with a screenplay written by Cole Meyers and Oliver Page, we follow Caz’s journey post transition and the two lives he leads and seeing the contrast between his life in Auckland as a prominent trans rights activist and the life he left in RÅ«rangi. When he arrives to.speak to his father, he also comes face to face with Jem (Arlo Green), his ex-boyfriend before his transition. As well as Caz, we also follow the story of his childhood friend, Anahera (Awahina Rose Ashby), a young woman who is trying to connect with her Maori roots by learning the language.

What is so captivating about RÅ«rangi is how these different topics spanning from social to cultural are intertwined and see how they have impacted Caz and his perspective on the world. Coming from a small town that isn’t as progressive as the cities and is reliant on a sole industry brings its pressures on the expectations and standards he was held up to growing up. Being able to lead the life he wants in Auckland comes to a head as a tragedy forces him to return home and confront that past.

Elz Carrad’s performance as Caz is a breakthrough turn and provides that focus point throughout the film. Even when exploring a range of different characters, we see how Caz has affected them and vice versa. Carrad is perfectly cast and really brings that inner conflict to the surface as he has to confront his dad for the first time in ten years. He is shy and reluctant to speak out to his father and the village council intially despite being unafraid to express his voice in Auckland, risking his life to do so. The film revolves around Caz’s journey to self acceptance and unwillingness to be batted down by those who disagree with trans rights and Carrad achieves this perfectly.

In support, Awahina Rose Ashby is brilliant as Anahera, a woman of Maori descent who is rediscovering her roots through the language. Refusing to conform to what the town expects from her, she openly dates women and doesn’t care about what people think. Her progressive look to the future and attitude is then combined with her longing to connect with her past. As she recites a Maori mantra in the morning, she is instantly becoming more connected to the world around her and wanting to interact with the community that has always disapproved of her actions. Ashby’s performance is fearless and unapologetic as she has such a strong and confident presence which works great against Carrad’s more subtle and quieter performance. The scenes between the two are highly emotional and sum up the experience of being an “outsider” in a small conservative town.

Overall, RÅ«rangi is a fantastic series/film that will be equally enjoyable to watch either in full or episodes. Seeing the perspective of the New Zealand LGBT+ community through the eyes of those who can relate makes the experience feel more authentic. The characters have been fleshed out in a way that we see their positive and negative traits and we understand from their backstories why they act this way. The direction in particular is stunning and the non linear structure of the film keeps the plot unpredictable whilst also fleshing out the backstory in a way that doesn’t feel like exposition or thrown in.

RÅ«rangi is showing at this year’s BFI Flare Festival.

Categories
Uncategorised

BFI Flare Festival 2021: My First Summer

One of the films I have even excited to view was Katie Found’s directorial debut, My First Summer. The film follows Claudia (Markella Kavenagh), who is grieving after her mother drowned herself and Grace (Maiah Stewardson), a girl who lives nearby who saved Claudia from drowning with her mum. Claudia has lived a life in seclusion due to her mum’s negative outlook on the world and Grace’s entry into her life opens Claudia’s eyes and makes her see the beauty in life. With polar opposite personalities, the differences between the girls is what draws them together and ignites a romance. As the title suggests, this film doesn’t span a long period of time but the beautiful slow burning pace allows us to become familiarised with the characters. Delving into topics of loss and grief and contrasting this with the promises of hope and love that is found, Found explores a wide range of emotions and the internal and external conflicts that they can inspire.

Written and directed by Found, My First Summer makes the most from its limited location. Using Claudia’s house and the surrounding woodland primarily, there seems to be a lot of freedom in the amount of space and yet Claudia is trapped and disconnected from society because of how secluded it is. Found’s direction is beautiful and makes the most of the summery weather, allowing those bright colours and the warm tones contrasting with the topics of loss and grief. Considering the short running time of 90 minutes, Found does a great job with her screenplay as we really get to know Claudia and Grace and get an understanding of their points of view. It’s a film that doesn’t rely on being big and bold to get its point across and allows the two protagonists to become fully realised in a way that feels real and natural.

Markella Kavenagh’s performance is heartbreaking as Claudia has to deal with both the loss of her mum and the realities of the world outside. Having to hide from the police who would take her away due to her age, Claudia is initially alone and dealing with her grief with her dog by her side. Compared to Grace, Claudia is introverted and is academically intelligent without actually knowing how to properly communicate with people. Despite the natural world around her, the rooms in her house are undecorated and muted colours to reflect the fact that she is a blank canvas waiting to start her life. Kavenagh’s performance is quietly strong, when put against Stewardson who is the extroverted Grace, we see Claudia come out of her shell and grow into herself. A remarkable leading performance that is layered and nuanced.

The second lead in My First Summer is Maiah Stewardson who plays Grace perfectly. Outspoken and extroverted, Grace knows what she wants to get out of life. Suffering from her own experience of entrapment by her neglectful mother and step-father, Grace finds her own safety net with Claudia. After saving Claudia’s life, Grace acts as a guardian for her and helps keep her hidden from the police. Stewardson is captivating as Grace and makes the perfect onscreen partner for Kavenagh and the two have a chemistry that works organically and naturally. The slow burning nature of the relationship doesn’t feel rushed even though the film itself spans a short amount of time. Stewardson’s performance is tinged with maturity and naivety at the same time, reflecting the reality that these two girls are only 16 and haven’t had a lot of life experience.

Overall, My First Summer was even better than I had expected and left me speechless at its ending. The screenplay has a wonderful, steady pace and the girls are perfectly cast. I am very excited to see where Found, Kavenagh and Stewardson’s careers take them as this film is a very promising start and shows a great future for them. Showing the world through the eyes of a 16 year old who may not understand everything helps to create a film that feels grounded in its own universe and Found has captured this flawlessly. This film is not to be missed.

My First Summer is showing at BFI Flare Festival.

Categories
Uncategorised

BFI Flare Festival 2021: The Greenhouse

The second film on my itinerary for this year’s festival was Thomas Wilson-White’s drama The Greenhouse. Set in an idyllic Australian suburb, the film follows Beth (Jane Watt) who is grieving the loss of her mother, Lillian (Rhondda Findleton). The eldest of four siblings who have gone on to achieve amazing things in their lives, Beth feels anchored to her life at home with her other mum, Ruth (Camilla Ah Kin). When her siblings arrive for a family celebration, Beth gets a lot more than she bargained for as she comes across an old flame, Lauren (Harriet Gordon-Anderson) and discovers a portal to the past in the family greenhouse. Being able to relive her past and see her family during the good times and the bad as well as her own exploration and inner conflict with her own sexuality allows Beth to accept all that has happened and decide what to do in the next chapter of her life.

Wilson-White’s direction is beautiful, often feeling otherworldly while remaining grounded in its reality. The suburban setting allows the household to feel disconnected from society and places the family front and centre of the events that take place. The screenplay is simple and has a slower pace to allow the plot to naturally unfold. When time travel is involved in a film, it can be easy to burden the audience with exposition and too much information but Wilson-White does not fall into this trap. How and why the portal is there is not important and this allows Beth’s character to be the main focus of the film. The way that these scenes are shot are really well done and allows Beth to come face to face with her past self and her actions. We begin to understand her decisions and choices that has led her to remain at home.

Jess Watt’s performance as Beth is the beating heart of this film. Beth is clearly a strong woman but she is holding herself back because she is afraid of going out in the world and living with complete freedom. Having seen the discrimination aimed against her mums, she is afraid when she begins to realise she has feelings for her best friend, Lauren. Where her siblings have been getting on with their lives, it feels that Beth has become stunted and unable to move on, which is also accompanied by the grief she feels over the loss of her mother. Watt’s performance is perfectly controlled and we feel that wide spectrum of emotion that Beth goes through as she is faced with the heartbreak of losing her mum and the jealousy that she has against her siblings for leaving. When among her siblings, Beth still revels in her loneliness as she doesn’t want to face the truth about her sexual orientation. The reintroduction of Lauren into her life is the perfect second chance given to Beth to start anew and we feel that conflict though Watt’s performance.

The music by Freya Berkhout is astounding and elevates the film into magic realism territory. Bringing in elements of otherworldly tones, Berkhout’s use of choral pieces is both haunting and beautiful, creating an atmosphere that helps to separate the house from the rest of the world. Having the music set the fantastical tone allows the film itself to remain a drama and not become distracted with a variety of special effects. Working brilliantly with Wilson-White’s vision, the music is subdued and subtle yet still makes its impact.

Overall, The Greenhouse is a beautiful and poignant film that quietly packs a punch. Wilson-White’s mixing of genres and tones reflects the protagonist’s inner conflict. This film tackles a range of heavy subjects but it does so in a way that isn’t overwhelming for the audience. Bringing in elements of time travel could have resulted in disaster but the way it works in this film allows us to understand Beth’s character more and learn about her background and how they have affected her in the present whilst also affecting her future choices.

The Greenhouse is playing at this year’s BFI Flare Festival.

Categories
Uncategorised

BFI Flare Festival 2021: Jump, Darling

BFI Flare Festival is all about showcasing the newest films that explore LGBT+ issues and the variety this year follows all paths of life from all corners of the globe. Opening the festival this year is Phil Connell’s Jump, Darling. The film follows Russell (Thomas Duplessie), a drag queen who moves back in with his grandmother, Margaret (Oscar winner Cloris Leachman) after his breakup. As Russell tries to decide what he wants to do with his life, he also finds himself taking care of Margaret who is reluctant to go into a care home despite her ailing health. The film was one of the last films Leachman starred in before she passed away earlier this year.

Connell’s screenplay and direction is nicely paced and he manages to get fully realised characters in its short 90 minute run. Despite the difference in lifestyles between Russell and Margaret, their similarities begin to show as both are trapped in their particular situations. Where Maragret is physically trapped as she is unable to leave the house, Russell is finding himself unable to fulfil his potential as a successful actor and feels the pressure of failure from family and friends. The scenes where Connell’s direction really shines is when Russell performs lip syncs as his drag alter ego, Fishy Falters. These scenes allow Connell to shift to a more experimental style of filmmaking as he mixes in differing camera angles and lighting that takes Russell out of his reality when he becomes Fishy Falters.

Duplessie is fantastic in the leading role as Russell and stands his own against Oscar winner Leachman. We first see Russell in a successful nightclub prepping for his drag debut as Fishy Falters. After stumbling on his way to the stage and leaving the club, he breaks up with his partner who thinks he is should pursue acting as he doesn’t think drag is a worthy career. When he moves in with his grandmother, we begin to see the clash between the two worlds that he seems to inhabit. Where Duplessie really shines is showing the difference between Russell’s life as a man who is trying to find his way versus his performances as the super confident drag queen, Fishy Falters. Duplessie’s stellar lip syncing is on par with the performances we see from professional drag Queens throughout the film.

As expected, Leachman is brilliantly cast as Margaret, the family matriarch who simply refuses to be put in a care home despite pressure from her daughter. Unable to drive or properly care for herself, Russell’s arrival brings a certain amount of freedom as Maragret begins to encounter old friends and start to find the joy in her life again. With Leachman having a stellar career playing strong women, Jump, Darling is no exception as we see Margaret grasping at the little control she has left. Wanting to cater to her grandson and encourage him to push out of his comfort zones, Margaret is quite a confrontational character but she also has a softer side when it comes to Russell. The scenes between Leachman and Duplessie are great to watch and even in her twilight years, Leachman shows that her star quality never went away.

One thing that I thought was particularly great in this film was the editing. Lev Lewis edits perfectly by utilising a more traditional cut in the scenes with the domestic troubles but then changing to a more exciting cut during the musical scenes. This helps to shift the genre of the film from drama to musical and keeps the film unpredictable and attentive. Lewis’ editing works perfectly to show the two worlds that Russell lives in and perfectly chronicles the emotional journey he takes.

Overall, Jump, Darling marks a great start to this year’s BFI Flare Festival and marks the start to a wonderful career for Duplessie whilst also being a lovely swansong for Hollywood icon, Leachman. Connell uses the minimalist surroundings and limited characters allows the two protagonists to shine and puts their acting at the centre. The chemistry between Duplessie and Leachman feels natural and the screenplay allows the relationship to develop naturally without resorting to any exposition. Jump, Darling is a film that will leave you laughing, crying and every other emotion in between.

Jump, Darling is opening the BFI Flare Festival.