London Lesbian and Gay Film Festival: Opening Night

Tonight the 26th LLGFF opens with the road comedy Cloudburst. Starring venerable Oscar-winners Olympia Dukakis and Brenda Fricker as lezzies on the lam, the film breaks new ground in presenting a long-term lesbian couple as heroines of their own adventure, while presenting their relationship as a given. After 31 years together, Stella and Dot find themselves separated when Dot's grand-daughter has her committed to a home. Stella breaks her out and the two go on the run.

Dukakis is a revelation as Stella, an unreconstructed butch, trading earthy jokes with her partner, while giving anyone who crosses her path an earful of her foul-mouthed opinions. The opening shot establishes the feel of the film brilliantly, with Dukakis, resplendent in flannel shirt and cowgirl hat, at the wheel of a pick-up, humming along to k.d. lang (several of whose early songs feature on the soundtrack). Marvellous.

Fricker has the tricky task of offering understated support as Dot, the blind, fragile partner to Dukakis' exuberant lead, but she also has some great moments, although the comic setpiece that finds her headbutting a naked man in bed is misjudged. The film does occasionally stray into crude slapstick, but there are so many great moments that the mis-steps don't spoil the fun.

One might question the necessity of introducing Ryan Doucette's metrosexual dancer Prentice to join the women on the run, but perhaps writer-director Thom Fitzgerald thought this would provide eye candy for the boys, the number of times Doucette takes off his shirt.

I was looking forward to meeting Ms. Dukakis for an interview today, but she has cancelled her appearance at the festival. A shame that, as I was hoping to get some butch tips from her.

Other highlights to look forward to: docs on Alice Walker, Patty Schemel, Vito Russo and Jobriath; hotly-tipped dramas Circumstance, Gun Hill Road and Stud Life; and chances to see Weekend, Pariah and Potiche.

The 26th London Lesbian and Gay Film Festival runs from 23 March to 1 April at BFI Southbank.

Away from Her

dir Sarah Polley

Adapted by writer/dir Polley from an Alice Munro short story, this Canadian feature stars Julie Christie as Fiona, a woman succumbing to Alzheimer's while Gordon Pinsent co-stars as her husband Grant who is slowly frozen out of her life as the illness takes over.

Set in a wintry Ontario town, the film contrasts the couple's life together in a remote cottage with the clinical setting of Meadowlake, a care home for Alzheimer's patients. The story is told from Grant's point of view, observing her as she forgets who he is once she is admitted to Meadowlake. With his wolfish features, Pinsent is excellent as the doting husband with a hint of raffishness.

Christie is stunning, the camera often holding in close-up on her startling blue eyes. Her character is multi-faceted, unable to recall the way home when she goes out skiing and yet sharp as a tack in reminding her husband of "the things we don't talk about", namely his flings with nubile co-eds during their 44 years of marriage.

This latter scene, which occurs as he drives her to be admitted to Meadowlake, is absolutely key, because it shows the balance of power in their marriage and it also allows her to dictate the terms under which she is admitted. It is her decision to go. During their farewell, she comforts him. Then, she tells him she wants him to make love to her and then leave. Once 30 days have elapsed, she is allowed visitors but when Grant returns she doesn't seem to recognise him. Instead, she has formed an attachment with another patient, Aubrey, displacing Grant, who suspects she may be punishing him for his failings.

This possibility adds an element of mystery to the story, which is complicated by Grant subsequently seeking out Aubrey's wife (a hawkish Olympia Dukakis) and forming a relationship with her. Is this opportunism on his part? Does he want Aubrey and Fiona to stay together so that he can assuage his guilt at cheating on her? The ending leaves this unclear but the film is gripping, charting an unusual love triangle and then quadrangle.