Notably the way that we wear different masks in these different parts of our lives. There was this compulsion to tell the story on that basis.īut moreover, I've been talking a lot about the themes of the film. I was very much a part of a queer community, and I wasn't the only one who didn't know this part of our history. The development started with a kind of unraveling of that experience and thinking about how that law affected my life without me knowing that it existed and being outraged at myself. And at that moment, I had not previously heard of Section 28, despite the fact that it had been a law for 15 years and despite the fact that I had been at school or in education for almost all of that time. Just before the anniversary, I came across a newspaper article about some women who had abseiled from the House of Lords public gallery into the House of Lords to demonstrate against Section 28. It began with me stumbling across a newspaper article about Section 28 in 2018, which actually was the 30-year anniversary. What was the process of developing this story to center so directly on the personal experience of living under the early days of this law? I felt the way that you humanized the impact of Section 28 was really unique.
#SIMON DOMINIC SISTER IN LAW SERIES#
The pressure from the newly enacted Section 28 laws, along with Jean’s own residual internalized homophobia, causes her to make a series of rash decisions out of fear and panic that may have disastrous ramifications in every facet of her life.īrought to life through McEwen’s subtle, cerebral performance, Oakley’s film explores the psychological toll discriminatory legislature takes on those it negatively impacts and holds a mirror to the past to deftly reflect the dangers of a history that repeats itself.įor this month’s Female Filmmakers in Focus column, spoke to Oakley over Zoom about researching the human impact of Section 28, the circular nature of history, and the strength found in queer communities.
#SIMON DOMINIC SISTER IN LAW PROFESSIONAL#
When she runs into one of her students at the gay bar she and Viv frequent with their friends, her carefully separated personal and professional lives collide. Set in 1988, McEwen plays Jean, a PE teacher working in the northern city of Newcastle, who, while out to her family and in a burgeoning relationship with a woman named Viv ( Kerrie Hayes), must hide sexuality while at work.
0 kommentar(er)
