‘Oh my God, did my dad and I fight’: Olivia Colman on the regrets triggered by new film Jimpa

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John Lithgow plays the gay and often nude septuagenarian father of Colman’s character in this bombshell-laden story of intergenerational queerness. She explains why her own dad would have ‘sat and cried all the way through it’ In Jimpa, Olivia Colman plays a woman called Hannah who leaves Adelaide with her husband and 16-year-old child to visit her father in Amsterdam. This is Jimpa – the word sticks better once you know it’s a compound of Jim and grandpa. At the airport, the teenager, Frances, who’s trans, drops a bombshell: they want to move to the Netherlands and finish their schooling there. Hannah and her husband, Harry, respond thoughtfully, not freaking out. But once they arrive in Amsterdam, Jimpa, played by John Lithgow, brings enough drama for everyone – something he’s been doing for 40 years, since he left his family for a fuller queer life than Australia at the end of the 20th century could offer. The film revels in revealing the sort of lifestyle he enjoyed instead. Cont...
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Grace review – monumentally odd father-daughter odyssey via mobile cinema

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Travelling across Russia in mostly silence, Ilya Povolotsky’s debut feature has a strange confidence in its own insistent dispiritedness

With long journeys in a red camper van, long unbroken shots of shattered Caucasian landscapes, and very long silences between its alienated father and daughter, Ilya Povolotsky’s debut feature has a strange confidence in its own monumental dispiritedness. “I want to know that you have a plan,” says the teenager. “And that we won’t get stuck somewhere outside Khabarovsk with a chicken and a sad librarian woman.” This being a Russian art film, you wouldn’t bet against it.

The two unnamed characters, played by Maria Lukyanova and Gela Chitava, are making their way across the country for unspecified reasons, other than her desire to see the sea. They run a small mobile cinema out of their van for wan residents of purgatorial steppe towns and flog snacks and porn by night at sketchy truck stops for the hauliers who aren’t with sex workers. The father has transient liaisons of his own, adding an accusatory edge to his daughter’s faraway gaze, frequently fixed on nothing. Things aren’t looking up when they reach the sea; local people are scooping dead fish off the foreshore. “Fish plague,” says a police officer. “You’d better leave now.”

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