source: 52 Tuesdays

The material seems like it could be uncomfortable but it isn't. It's about people faced with difficult things that they learn to live with. There are few movies whose characters I cared as much about. It's really quite a beautiful thing.

I had a sinking but familiar feeling halfway through 52 Tuesdays, a feeling that I had had while watching Mike Mills 'Beginners'. In both films a child deals with their parents coming out late in life. In Beginners, it's an adult man learning that his father is gay, in 52 Tuesdays it's a teenage girl learning her mother is transitioning into a man and now wants to be known as James. In both films, the more interesting of the story lines, belonging to the parents who are going through an incredibly tumultuous time, is sidelined in favour of the narrative of the children which is much more conventional and less interesting. 52 Tuesdays starts out with an interesting gimmick; teenage Billie is abruptly informed by her father that she will now be living with him, leaving behind the cosy bungalow home where she lives with her mother and uncle. Billie can't believe this is true but it is soon confirmed by her mother, who reveals that she is going to be transitioning into a man and needs some time to himself to adapt to his new life. Despite the fact that she is clearly hurt, Billie shifts right away into trying to accept her mother's new state of being. Despite her mother's vague wishy- washy plans, Billie sets out a schedule that involves them seeing each other every Tuesday for six hours and she accompanies her mother to therapy sessions and applauds him as he gets his first testosterone injections. But Billie clearly has some deep pain related to the transition and she chooses to let it out by playing voyeur with two older kids who make out in a closet at school. Her mother's rejection of her pushes her to finally introduce herself to these kids and it isn't long before she's interviewing them about their sexual experiences while experimenting with them herself. The film is set up in 52 segments and was filmed over 52 weekends but while this is an interesting and at times effective filming technique it also has severe limitations. We get snip its of James's life and how hard it is for him as he faces setbacks in his transitioning but we are also missing large chunks of his story that show his point of view. Billie is also somewhat of a boring character and some of her actions, especially towards her so called friends, are borderline sociopathic, especially towards the end as she invades their boundaries and treats them abhorrently, something the narrative ultimately tries to justify. It's really too bad because the film had an interesting concept and the stories it is trying to tell are ones that are too often unseen in cinema, but ultimately this movie feels like a shadow of what it could have been.

This film is both gentle because of how it was produced over 52 Tuesdays lets the story acquire a feeling of the natural-ness of time passing which for Billie is really important because 15 year olds change such a lot and this one in particular had a lot to cope with. The way the film was shot meant we got to really see Billy mature and her mother transition into James. Billie, played by Tilda Cobham-Harvey and Del Herbet-Jane who played James were excellent in their roles, both apparently new to film acting. I especially enjoyed the performance of Cobham-Harvey whose story carried a challenging diversity as she went from being a child experimenting with sex and sexuality to having to cope with, understand and even support her transitioning mother. A particularly sensitive exploration of the issues related to transgender.

What astounded me most about 52 Tuesdays was Billie's almost unusually warm response to her mother's decision to have sex reassignment surgery. The young teenager treats it with humour, understanding and an almost detached manner despite the fact that her mother essentially demands she move out while she goes through the transitioning process. Her sexual exploration and "acting out" that proceeds the mother's revelation could be taken as a sign of a neglected, confused young girl. The strongest aspect of this film in my opinion was the performances. Tilda Cobham-Hervey gives a spectacular breakout performance and the supporting cast are equally good. The only thing that disappointed me about this film was the dialogue, which tended to seem unnatural at times. For example, when Billie walks in on her school peers engaging in sexual acts, she's randomly asked if she would like to "play a game"... and says yes in such an impulsive manner that bothered me because it seemed contrived and unlike Billie, who seemed to have a lot of insight and awareness into such hedonistic behaviour. It seemed more fitting that Billie would hesitate such an invitation or be so above it that she would decline it. There were a few other lines that seemed a little insincere, but I'll let them slide on account of a mostly solid script and decent characterisation. The vulgarity was off putting at times and bordered on shock value. Why would a mother let her lesbian partner take videos of herself for her daughter, then expose her breasts? This certainly isn't the norm for an Australian family, so I suppose it was just a slice of life for these atypical people. Ultimately however, Billie was very admirable and likable. She always had a zest for life. I suppose her increasing promiscuity throughout the film was an extension of her mothers own gender doubts and an exploration of human sexuality that most of the youth will encounter. Rich characterisation compensates for what is not a very plot-driven narrative. Although the film did not exactly drag, it's tepid pace may affect the younger 'ADHD' smart-phone generation who need constant stimulation and action to enjoy a film. If you appreciate a decent, richly layered character study, offering an unlikely "slice of life" with satisfying character progression, then see this film. It is well made and very engrossing. I will certainly look out for the upcoming films of the cast and crew involved, particularly the director, Sophie Hyde and the lead actress (Tilda Cobham-Harvey).

A high school girl begins a year of sexual experimentation when her mother decides to become a man, and two older schoolmates invite her into their bohemian clique. This Australian indie captivates through the performances of the young leads. Tilda Cobham-Hervey as Billie, the young woman who has to cope with parental separation, mum's transgender crises, and her own burgeoning sexual awareness, is riveting, a natural beauty who is testing her own strengths and boundaries. Dad (Beau Travis Williams) is over-eager to accommodate everyone, while James (as Mum now wishes to be called) is completely self-absorbed, documenting her transformation and spending the Tuesdays together with his/her daughter only talking about her/his own issues. Little wonder Billie creates a secret space and time to nurture and document her own transformation. These naturalistic, sweet but painful scenes of emerging with the three teenagers are the film's most authentic and touching. Sam Althuizen as Josh remains a mystery, a boy included for his gender more than his personality. The beguiling Jasmine (Imogen Archer) has her own family issues, and provides a brake to any self-pity Billie might be tempted to indulge in. Del Herbert-Jane as Jane/James embodies the fluidity in gender identification that is the film's key motif. She has a fractious relationship with her own sexually ambiguous brother Harry (Mario Späte), the film's only truly annoying character, a product both of characterisation and performance. That motif is somewhat overplayed. It is deft when the characters all sport fake facial hair for a family goof around, but is hammered home in the changing facial hair fortunes of Dad, who seems to have a different degree of beard for every scene. Billie's movie-within-a-movie works well and is in keeping with the digital nativization of teenagers of the period. Plot is less well-handled - a rush of all the characters to the hospital seems forced, and Billie's way of marking the conclusion of the one-year separation from Mum rather too showy. The uncle's interventions also seem random and intended to inject drama rather than emerging from character. But as a rites of passage tale the film triumphs, crucially on the casting and performance of Cobham-Hervey. Reminiscent of Kiera Knightley at her best, this young actress is one to watch.

The basic storyline of '52 Tuesdays' is summarised by IMDb and Wikipedia, so I won't rephrase this yet another time. Viewers (like myself) might initially be skeptical of what appears to be a gimmick in the film - all the action takes place on Tuesdays - but after the first 5-10 minutes, it's clear that some Tuesdays are explicitly weighted more heavily than others, and the film is actually well organised and paced. In fact, the technical constraint of "every Tuesday" allows for novel kinds of intrigue to develop around the lives of the central characters, Billie and James. The substantial drama of the film revolves around parallel issues relating to gender and identity in the lives of James and Billie, both played by non-professional actors who are utterly convincing (Billie becomes especially interesting in the second half, and James is compelling throughout). There are still only a handful of widely-circulated films around transgender issues, and many focus either explicitly on discrimination or on "coming out" narratives, both of which are extremely important themes rarely considered by Hollywood. Nevertheless, one original feature of this film is its more subtle exploration of James' own sense of selfhood and intimacy, especially as the medical aspects of transitioning become more complex. The attention paid to shifting familial relationships (including some quite devastating interpersonal crises), as well as the subtle exploration of adolescent sexuality, make for many surprising turns and rewards as the film develops. The film also retains some humour at crucial moments, and benefits from a restrained use of soundtrack, so the drama never feels heavy handed. It's also worth noting that as an independent Australian film, certain cinematographic conventions may seem disorienting to viewers not familiar with this form of social realism. Nevertheless, this is not 'Snowtown' or 'Bad Boy Bubby' - '52 Tuesdays' does not exploit graphic sex or violence to shock its viewers, and keeps the focus on character development. Overall, very strongly recommended.

I wasn't looking forward to watching a film portraying a teenager's life week after week over 52 weeks. So I did have low expectations, but I loved this film. What it showed was how one girl, Billie, must cope with an incredibly stressful home life (her mother is becoming a man) while dealing with the usual challenges of adolescence. How she does this is what the film is about. One of the most refreshing aspects was that here, on the surface, is a very much different from 'normal' Australian family -- apart from her Mum's sexual identity crisis, Billie's youngish uncle lives with them, and the uncle's small daughter is an occasional visitor. Billie's Dad is a loving presence but he has his own partner. But by also delving into the family life of Billie's female friend, whose Dad is absent and Mum has depression -- I think the writers were trying to say that no family is perfect, and we all have our woes and worries. And that maybe Billie's family is representative of today's Australia, in that it is diverse. The format -- filming Billie and those around her every week for a year -- could have been terribly monotonous, but the variety of scenes and themes, interspersed with video footage taken by Billie and her friends, effectively breaks this up. The film is well shot, directed and edited. The acting is great and the script is taut. There is plenty of humour and the fairly explicit sex scenes are very much in context and not gratuitous.

Billie (Tilda Cobham-Hervey) is a sixteen-year-old school student. Her mother (Del Herbert-Jane) announces plans to undergo gender transition. More significantly, she forces Billie out of the house and Billie must live solely with her father. Her contact with her mother is restricted to Tuesdays after school. This upsets Billie, who decides to keep a video diary. 52 TUESDAYS is less about gender transition and more about neglecting a child. Whatever turmoil the mother faces with gender change should be secondary to her responsibility as a parent. But her daughter's not as important to her and she unfairly forces her out of her own home, while allowing the older brother to stay. Billie, unsupervised, experiments sexually with two older students, videotaping the explicit experiences. Apart from the fine performances from the actors, all of them first-timers, there's not a lot to like in this rather bleak Australian film. The characters are obnoxious, they're the type of people I go to great lengths to avoid. Billie has no respect for others, the way she speaks to her father and opens her mother's mail. And her irresponsible mother clearly has no respect for Billie. The story has no direction, just one Tuesday after the next, the date presented as a title card over news footage of world events. Clever, but this constant interruption breaks the narrative flow and makes the film disjointed. Sophie Hyde is the director. She produced the highly-amusing documentary SHUT UP LITTLE MAN! and it's a shame she can't bring some humour to this film, her first drama feature. Films centred on gender transition are important and should be made. It's a very real issue affecting a lot of people. In 1999 we had Kimberly Peirce's excellent BOYS DON'T CRY, featuring a standout performance from Hilary Swank. But 52 TUESDAYS, sadly in the tradition of so many other Australian films, is depressing, plodding, vulgar and aimless.

Trailer—52 Tuesdays