‘Jimpa’ Review: A Liberated John Lithgow Sets the Tone for an Unkempt Homage to Tradition-Defying Kin

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Debuting at the Sundance Film Festival shortly following Trump’s explanation of his Make America Great Again plan, Sophie Hyde’s “Jimpa” is a movie centered around advancement, not regression. Drawing inspiration from life lessons learned with an activist gay father (John Lithgow in one of his most impactful roles since “The World According to Garp”) and a nonbinary child (Aud Mason-Hyde), this semi-autobiographical drama portrays and honors the far-reaching impacts of the Sexual Revolution across three generations.

Featuring a diverse cast that’s inclusive and open-minded, using frank language sometimes considered “woke” and challenging traditional views on gender, the film “Jimpa” has a distinct feel reminiscent of the Sundance Film Festival. The director, Hyde, who is from Australia, chooses Olivia Colman to portray Hannah, a filmmaker in an unconventional marriage that leans towards monogamy with a straight, cisgender husband (Daniel Henshall). In this family, Grandpa Jim – or “Jimpa” as he prefers – had children before coming out in the early ’70s. Although some may jokingly call such couples “breeders,” they are an integral part of this unique family.

In an unusual opening talk for the school’s LGBTQIA+ club, delivered by Frances (Mason-Hyde), it was revealed that Jim and his spouse chose to go against the norm by staying together. This arrangement worked for a period, until Jim moved to Amsterdam, a decision that has left Hannah bitter for almost four decades. Despite living thousands of miles apart, Jim is no longer the same person he once was, having suffered a stroke. As a result, Hannah, her husband Harry, and their daughter Frances aged 16, have decided to visit him. Interestingly, Frances secretly plans to stay in Amsterdam permanently with ‘Jimpa’, should the opportunity arise.

Although it might be compelling enough for numerous Sundance films, Hannah, who’s proposing a project that seems strikingly similar to Hyde’s, emphasizes that what sets her family apart is their peaceful approach to life’s unexpected challenges. “They opted for kindness over disagreements,” Hannah clarifies, even though there are plenty of disagreements occurring, as she manages a child yearning for independence and a father who, despite his frailty, can be bluntly honest without much thought.

It’s clear that Hannah, her sister Emily (Kate Box), and their parents who have amicably parted ways, as well as a child grappling with gender identity, appear remarkably at ease around each other (try finding another self-conscious teenager happy to bathe with their mother). This suggests a level of mature, considerate conversation that takes everyone’s feelings into account. However, just because they get along doesn’t mean they never disagree. Disagreements are not only common but essential – a concept that the ever-challenging Jimpa enjoys testing.

Hyde’s film, which blurs traditional categories and occasionally seems disorganized due to an overabundance of significant yet distracting flashbacks featuring different-looking actors portraying the same character, can be a bit confusing. In actuality, Aud (the actress who plays Frances) didn’t have as much close interaction with Jimpa as suggested in the movie, making “Jimpa” an endearing — although somewhat self-indulgent — opportunity to rectify that situation. Although Hannah is a strong advocate, it’s intriguing to speculate about the discussions Aud might have had with her politically active, HIV-positive ancestor.

Jimpa” aims to bring those overlooked chances into reality, offering not just Aud, but a whole generation of young individuals with insights about the hardships their resilient ancestors faced in order to live more freely as part of the LGBTQ+ community. Hyde finds humor in how casually millennials accept such issues, while also playfully mocking the slowness of older generations to grasp self-defined pronouns and the terminology beyond “LGBT” in the queer community. (In fact, the term “queer” itself is a topic of discussion among Jimpa’s friends, as they remember when it was a word used before someone would attack them.)

The movie largely emphasizes acceptance and celebrates the modern generation’s progressive approach towards courtship. It encourages that one should not make assumptions about others and should instead ask for their preferences, as Jimpa advises his non-conforming grandchild. Navigating this new territory can be challenging for parents, and Hannah is no exception. She learns new terminologies from her daughter, such as “compersion,” which means the absence of jealousy. Although Hannah and her spouse aren’t fully adapted yet, their evolving relationships with boundary-pushing family members like Richard (Eamon Farren) hint at their ongoing journey towards understanding and acceptance.

To her merit, Hannah remains unfazed when Frances shows interest in a woman older and more experienced. Unlike running to Mom after losing their virginity, Frances confides in their grandfather first. He gives his blessing, along with a THC gummy to celebrate the moment. As always, Colman delivers an exceptional performance, portraying the intricate and sometimes conflicting feelings the trip stirs up, as Frances transfers their trust to a father who wasn’t always as nurturing towards Hannah. However, rather than experiencing jealousy, she cherishes their relationship – embracing ‘compersion’ as more than just a concept associated with polyamory.

As a movie critic, I found myself deeply moved by the authenticity of the performances in this film, with John Lithgow delivering a particularly fearless portrayal. His character tackles an unusual accent that defies easy identification, making his performance all the more captivating.

Reminding me of Emma Thompson’s bold scene in the 2022 movie “Good Luck to You, Leo Grande,” Lithgow’s character strips down completely, even at the age of 70s. This scene, infused with a touch of absurdity, symbolizes a courageous fight for self-acceptance and identity.

The question this film poses is: What’s the purpose of gay pride when one is still shackled by shame? Lithgow’s character embodies unapologetic self-love, pushing boundaries that, if they rub off on Frances even a little, can only be a good thing.

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2025-01-24 03:46