Blue Jean: NZIFF Review

An 80s set drama about a teacher struggling to come to term with her sexuality in Thatcher's burgeoning Section 28 world may not be the most original idea for a drama, but writer-director Georgia Oakley largely strays away from the kitchen sink drama that could have sunk this tale.

Coupled with a stunning performance from Rosy McEwan as PE teacher Jean who just simply wants to try and get on with life, Blue Jean's slow-burning tale reaches a crescendo when inevitabilities clash.

Oakley's story may follow a familiar thread, but in truth, it's the subtleties that mark it out as different. From the sly use of TV dating show Blind Date to show how conformist societal norms were in the 80s through to club scenes, Oakley manages to show off the conflict felt by McEwan's Jean and the world around her.

Targeted by Thatcher's Section 28 which prohibited schools from promoting homosexuality, Jean's gradual realisation that she's being targeted (despite earlier telling a colleague not everything is political) and the pressure it internally plies on her is tenable.

McEwen's continually watchable struggle is well internalised and the actress makes much of underplaying the role throughout. It may veer into predictable territory with the arrival of a young potentially gay school girl landing in her PE class, but what Oakley does with the story is use the framework to create something of a dilemma that McEwen's Jean is ill-fitted to deal with, being relatively new to the scene, uncertain of herself and also what lies ahead.

As it tackles gender norms, Oakley's film revels in the insecurities but never glorifies them, resulting in a drama that's as heartfelt and earnest as it is underplayed - and one which rises above the usual fare thanks to its powerhouse central performance.