1988 in Newcastle, northern England: Jean (Rosy McEwen) is a lesbian PE teacher who is trying her best to survive unscathed in an extremely heteronormative society. Her family knows “it“ but she isn’t out at work. How can she be? With the “Section 28“ act, Margaret Thatcher banned “the promotion of homosexuality“ in institutions (like schools). Teachers, especially sports teacher, are under special observation. When Jean’s student Lois (Lucy Halliday) shows up at the local LGBTQ+ club, Jean’s carefully nurtured double life is put to the test. Based on the diaries of PE teacher and now professor Catherine Lee, screenwriter and director Georgia Oakley explores what it could be like for a person affected who exists in in such a world. With a good eye for framing, mirroring, and color, Oakley imbues everyday situations with high tension. McEwen completely immerses herself in the character and gives an intense performance. Her (exclusively female) co-stars are also convincing. Jean’s girlfriend Viv (Kerry Hayes), a butch lesbian with tattoos and a leather jacket, is Jean’s anchor in the queer scene: she attracts attention and is challenging. Despite all of the love they have for each other, it is often hard for them to show understanding for each other. It is unclear how much understanding the film has for Jean, who keeps failing at doing the right thing – for her being a victim of brutal state violence and not being able to withdraw from it with bravery and willpower. BLUE JEAN approaches its anti-heroine with a certain inner strife, perhaps quite similar to the strife within a LGBTQ+ community whose members are constantly under threat and doing their best to be there for each other.

Eva Szulkowski

Translation: Elinor Lewy