Sophie Hyde has crafted a film that, while earnest in its intentions, leans heavily into indulgence, straddling the line between autobiography and autofiction. The film boasts a self-satisfied tone regarding its sensitivity and emotional honesty, yet it lacks the vibrant energy found in her 2019 comedy, “Animals,” which explored the challenges of young adulthood. A particular scene where the teenage protagonist captures heartfelt moments using a vintage disposable camera, rather than a smartphone, comes across as rather pretentious. Nevertheless, the performances by Olivia Colman and John Lithgow are focused and commendable.
The story follows Hannah, a filmmaker from Adelaide portrayed by Colman, who embarks on a journey to Amsterdam with her cheerful husband and non-binary child, Frances, played by Hyde’s own child, Aud Mason-Hyde. The purpose of their trip is to visit Hannah’s charismatic and inspiring father, Jim (Lithgow), affectionately referred to as Jimpa. Jim is a man who came out as gay to his wife and daughters in the early 1970s, ultimately moving to Amsterdam to pursue a life as a radical educator and advocate for causes such as housing rights and HIV awareness.
Frances looks up to Jimpa as a queer role model, but he surprises them with a more cantankerous demeanor than anticipated, dismissing the terms “queer” and “bi” as weak and undermining the struggles for rights that his generation fought to establish. This heated exchange represents one of the rare instances where the film seems to gain momentum, challenging Hannah’s calm assertion that her film can unfold without conflict, while instead emphasizing “kindness.” It remains unclear if this irony was a deliberate choice by the filmmakers. The coming-of-age narrative surrounding Frances is somewhat more effective, yet despite the strong performances from Lithgow and Colman, the film ultimately feels uncertain in its execution.
Jimpa will be available on digital platforms starting May 11.
