Good Luck to You, Leo Grande director Sophie Hyde’s Jimpa premiered at the Sundance Film Festival as a heartfelt exploration of intergenerational tensions, queer identity, and the intricate bonds of family. Co-written by Hyde and Matthew Cormack, the film is a semi-autobiographical work inspired by Hyde’s relationship with her late father. Centered around John Lithgow’s (The Old Man) magnetic performance as Jimpa, a self-indulgent gay grandfather living in Amsterdam, the film delivers a tender, nuanced portrait of familial love and self-discovery that captures the tone and spirit of Heartstopper for a more mature audience.
The story begins in Adelaide, Australia, where director Hannah (Olivia Colman, The Favourite) struggles to finance a film about her parents’ unconventional relationship. Her father, Jim, came out as gay and stayed in a polyamorous marriage with her mother until she was 13, when he ultimately left. This history looms large over Hannah’s relationship with her own nonbinary teenager, Frances (Aud Mason-Hyde), who calls Jim “Jimpa” to suit his distaste for traditional grandparental titles. When Frances insists on visiting Amsterdam to spend time with Jimpa, Hannah reluctantly agrees, setting the stage for a poignant family reunion.
Lithgow’s portrayal of Jimpa is unapologetically vibrant. A stroke survivor, Jimpa’s physical vulnerabilities don’t dull his zest for life, as he revels in Amsterdam’s queer community with his close-knit group of friends. However, his flaws are not obscured; his inability to fully grasp Frances’ nonbinary identity leads to moments of discomfort, exposing generational gaps in understanding. These moments are juxtaposed with heartwarming interactions, such as Jimpa’s affectionate nickname for Frances, “My Grandthing,” and a scene where his friends shut him up by singing Thelma Houston’s “Don’t Leave Me This Way,” knowing he can’t resist joining in.
Frances, played with remarkable authenticity by Mason-Hyde, navigates their own journey of self-discovery. Leading the LGBTQ+ club at school, Frances feels accepted but not entirely understood in Adelaide. Their time in Amsterdam is a kaleidoscope of queer joy, epitomized by dazzling scenes of Frances’ first visit to a queer club and a budding romance with Bis (Jean Janssens, GameKeepers). The film’s cinematography captures these moments with halcyonic bursts of color, contrasting with more subdued, introspective visuals, such as Frances capturing their trip through a disposable camera, symbolizing the fleeting nature of these formative experiences.
Olivia Colman delivers a deeply empathetic performance as Hannah, a mother caught between her own complicated feelings toward her father, Jim, and her desire to support Frances’ burgeoning identity. Hannah’s struggle is encapsulated in her fraught decision over whether to allow Frances to stay in Amsterdam for a year with Jimpa. Her hope that Jim’s shortcomings will disillusion Frances adds layers of complexity to her character, underscoring her ambivalence about her father’s impact on her child.
Hyde’s direction elevates Jimpa with a keen eye for visual storytelling. Rather than relying on conventional flashbacks, the film overlays vignettes of the characters’ youths onto present-day scenes, allowing the audience to infer emotional histories. Artistic choices, such as the use of floating dust particles and an echoing score, create an atmosphere of nostalgia and introspection. The film’s dedication to Hyde’s father further grounds the narrative in genuine emotion.
One of the film’s most striking aspects is its balanced portrayal of queer life. While addressing challenges, Jimpa predominantly celebrates queer joy and resilience. The intergenerational discussion of the word “queer” highlights both the progress and the lingering divides within the LGBTQ+ community. This is exemplified in a scene where Jimpa and his friends laugh at the concept of being nonbinary, a moment that is both painful and emblematic of the evolving nature of identity.
The film’s humor and heart culminate in moments that resonate deeply. Kirby, Hannah’s elderly dog and a gift from Jim, becomes a poignant metaphor for mortality and the passage of time. As discussions about Kirby’s end-of-life care foreshadow other narrative elements, the film grapples with loss while celebrating the enduring connections that define family.
Jimpa is a triumph of storytelling that weaves together themes of identity, acceptance, and the complexity of love. With standout performances from Lithgow, Colman, and Mason-Hyde, Sophie Hyde crafts a film that is as insightful as it is moving, leaving audiences reflecting on their own familial bonds and the stories that shape them.
I give Jimpa 5 out of 5 stars.