Blue Jean film review — Rosy McEwen is a revelation in this punchy drama

Set very precisely in 1988 in Tyneside, northern England, this punchy drama revolves around Jean (Rosy McEwen), a semi-closeted lesbian who teaches PE at a local comprehensive school. Looming is the Thatcher government’s Section 28 legislation, which would that year make it illegal for teachers to promote lesbian or gay identity in state-funded classrooms (it was repealed in 2003). As a result, Jean is wary of coming out at work; indeed, she is barely out to her own family.

Still, within the high walls of this compartmentalised life, she has carved out a space for herself and girlfriend Viv (Kerrie Hayes): a local bar where they can sink some beers with friends. There one night she spots 15-year-old Lois (Lucy Halliday), a member of the netball team she coaches, and panics when Lois clocks her back. Unlike Jean, the girl isn’t secretive about her sexuality, despite bullying from fellow students. Will Jean defend her if it comes to it, let alone reveal her own sexuality?

The feature debut of writer-director Georgia Oakley, Blue Jean has a crisply ironed script that fits its subject snugly. It highlights Jean’s conflicting allegiances as she is torn between her commitment to a job she loves and loyalty to Viv, a butch beauty covered in tattoos and piercings.

In other hands, all of this might have come across as didactic and blandly worthy, but Oakley evokes a strong sense of period with gritty, grainy cinematography that harks back to the look of 1980s British drama, especially the crunchy social commentary of Alan Clarke (Rita, Sue and Bob Too). Meanwhile, her cast imbue the story with spontaneity and warmth. Together they stick the landing of a tricky last act with acrobatic grace. McEwen especially is a revelation, projecting the wariness of a skittish cat, vulnerable and moon-child pale.

★★★★☆

In UK cinemas from February 10