--- title: "Blue Jean" year: 2023 kind: "film" canonical: "https://film.one/film/blue-jean" fi1m_id: "blue-jean" imdb_id: "tt8649344" tmdb_id: 971699 wikidata_id: "Q113556570" fi1m_score: 77 critics_score: 80 critics_reviews: 20 published: "2026-09-30T22:02:33.826642+00:00" updated: "2026-09-30T22:02:40.280287+00:00" region: "NZ" licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL." --- # Blue Jean (2023) Directed by Georgia Oakley · 1h 37m · Drama ## Identity Blue Jean - **Canonical:** https://film.one/film/blue-jean - **Type:** Film - **Fi1m ID:** blue-jean - **IMDb ID:** tt8649344 - **TMDB ID:** 971699 - **Wikidata ID:** Q113556570 - **Same entity:** https://www.imdb.com/title/tt8649344/, https://www.themoviedb.org/movie/971699, https://www.wikidata.org/wiki/Q113556570 **Fi1m score: 77** · Critics 80 from 20 reviews *In a sentence:* A teacher who bleaches her roots every week and still gets recognised in the wrong bar > Georgia Oakley’s first film puts a closeted PE teacher in a Tyneside school in 1988, with Section 28 on the staffroom radio, and lets Rosy McEwen carry the fear on her face. It is precise and quietly angry, and once or twice it explains its own symbols to us. ## Synopsis Tyneside, 1988. Jean Newman (Rosy McEwen) teaches PE at a secondary school, coaches the girls’ netball team and bleaches her hair blonde at the bathroom mirror. In the staffroom the radio carries the debate over Section 28, the clause that will forbid councils from promoting homosexuality, and her colleagues talk over it. Jean keeps quiet. At night she drives to a lesbian bar with her girlfriend Viv (Kerrie Hayes), who is out, shaven-headed and tired of Jean’s caution, and whose friends treat the bar as a second front room. A new pupil, Lois Jackson (Lucy Halliday), joins Jean’s class and is picked on by Siobhan Murphy (Lydia Page). Jean wants her two lives kept apart; a new law and a fifteen-year-old make that harder by the day. ## Review Jean Newman teaches PE at a secondary school on Tyneside in 1988. In the staffroom the radio is discussing Section 28, the clause that told councils they could not promote homosexuality and told teachers like Jean exactly how welcome they were, and her colleagues chat across it about the weekend. Jean says nothing. Georgia Oakley’s first film, which she wrote as well as directed, is about what saying nothing costs a person over a term, and it is good enough that we would send you to it if the subject is anywhere near your interests. Most of the film is Rosy McEwen’s face, and it can take the weight. Jean has a bleached crop that she maintains at the bathroom mirror, and McEwen checks the roots the way other people check a locked door. Her voice changes between the school and Viv’s flat: clipped and pleasant in the corridors, lower and slower at home. Kerrie Hayes plays Viv as someone who came out years ago and has run out of patience with people who have not, and the two of them argue like a real couple, which is to say about small things standing in for the large one. Their scenes at the bar, where the women know each other’s names and someone is always at the pool table, are the warmest in the film. Victor Seguin shot it on 16mm, and the grain earns its keep. The school is green-grey and fluorescent, the changing rooms tiled and echoing, the bar lit orange and close. Soraya Gilanni Viljoen’s production design keeps Jean’s flat sparse, a television in the corner with *Blind Date* on it, a bed, not much on the walls, so that Viv’s place, with its posters and its women on the sofa, looks like somewhere a person could actually live. Izabella Curry cuts the school scenes short, in and out before Jean can be caught, and lets the bar scenes run, and the difference in rhythm does more to explain Jean’s two lives than any line of dialogue. The scene that got us comes early, when someone from the school side of Jean’s life turns up on the other side of it, and we will not say who. Seguin holds on McEwen at a distance, with no music under her. Our stomach dropped before Jean’s face had finished changing. We knew, and she knew, that the wall between her two lives had just been walked through, and that nothing she did next would be free. What holds the film back is a habit of saying things twice. The hair is a good image for a woman who keeps painting over what she is; the film then has a character remark on it. *Blind Date* on the television is a neat joke about a country that liked its courtship straight and public; the film returns to it until the joke is a thesis. Chris Roe’s score is low synthesiser, mostly, and it is right for the drive to the bar, but in the staffroom it presses on moments McEwen has already carried. And Lucy Halliday’s Lois, who is good, is written as a problem for Jean before she is allowed to be a girl, so that the pupils remain slightly less real than the adults. The second half puts Jean in a position where protecting herself means failing someone else, and we will not say how. The turn is the right one for the film to make. It lands, though, a little like a lesson, with Jean’s choices arranged to demonstrate a point Oakley had already made in the first hour. We were angry watching it, which is partly the point, but a portion of the anger was at the film for underlining. British films about this period tend to be loud and communal, marches and picket lines and a brass band. Oakley has gone the other way: one woman, one school, one bad law heard through a wall. That is the harder film to make, and she has made most of it. It is a 15 certificate and 97 minutes, and it does not waste them. If you were in a British school in 1988, on either side of the desk, expect to recognise the staffroom. *Fi1m score 77, published 30 September 2026.* ## What the critics say The reviews for Blue Jean are almost uniformly warm. Eighteen of twenty critics come down on the positive side, and the praise settles on one thing before anything else: Rosy McEwen’s performance as Jean, a teacher hiding her sexuality in Thatcher’s Britain. Critic after critic reaches for words like restrained, precise and tightly wound, and several single out the way her guardedness comes apart late on. Beyond her, most admire Georgia Oakley’s period detail, the 16mm photography and the contrast between the airless school and the warmth of Viv’s home. The reservations are small and recurring. Several find the metaphors heavy-handed, some hear dialogue that sounds too modern for the 1980s, and the Los Angeles Times thinks the score occasionally overbears. The spread is narrow; even the two mixed notices concede the acting. The clearest dissent comes from Little White Lies, which calls the film timid and says it is vague about what Section 28 actually did to people. ## Straight answers **Is Blue Jean worth watching?** *Blue Jean* is worth watching for anyone with an interest in Thatcher's Britain, Section 28 or a quiet drama built on one performance, and we scored it 77. Rosy McEwen carries the fear on her face and Georgia Oakley's film is precise and angry about what silence costs. It does, once or twice, explain its own symbols to us. **How long is Blue Jean, and what is it rated?** *Blue Jean* runs 1h 37m. It is a drama film. **Where can I watch Blue Jean in New Zealand?** *Blue Jean* is streaming on Amazon Prime Video in New Zealand, and it is also available to rent from Apple TV and Amazon Prime Video from NZ$5.99. Availability is checked daily; the links above go straight to each service. **How violent or frightening is Blue Jean, and is it suitable for children?** *Blue Jean* is a 15 certificate, and its weight comes from fear and unkindness rather than violence: a closeted teacher, a bullied pupil, a law heard through a staffroom wall. There is nothing here to frighten the squeamish, but it is an adult drama about being found out, and younger children would be bored rather than upset. Older teenagers may recognise the school. **How does Blue Jean compare to My Beautiful Laundrette?** *Blue Jean* is the quieter and narrower of the two: one woman, one school, one bad law, while [*My Beautiful Laundrette*](https://film.one/film/my-beautiful-laundrette) is warmer, stranger and crowded with subplots and a romance nobody has planned for. The Frears film is the more generous evening and the funnier one. Oakley's is the tighter and more frightened, and it stays on a single face. **What should I watch after Blue Jean?** After *Blue Jean*, try [*My Beautiful Laundrette*](https://film.one/film/my-beautiful-laundrette) (1985, Fi1m 85): Thatcher’s Britain again, warmer and stranger, with a love affair nobody has planned for. Then [*Carol*](https://film.one/film/carol) (2015, Fi1m 88): Another woman keeping a life in a separate drawer, shot with the same care for surfaces; and [*Weekend*](https://film.one/film/weekend) (2011, Fi1m 86): Nottingham, two men, forty-eight hours, and the same trust in a held face. ### Reviews we read (20) - **Radio Times**, Molly Moss (5/5): The review praises the film as a stirring, poignant portrait of a lesbian teacher concealing her identity in Thatcherite Britain. It singles out Rosy McEwen’s enthralling performance and her portrayal of Jean’s growing anguish. [Read](https://www.radiotimes.com/movie-guide/b-l0g3px/blue-jean/) - **The Guardian**, Wendy Ide (5/5): Ide praises the film as a supremely accomplished and powerful debut. She singles out McEwen’s finely detailed performance and the film’s convincing period atmosphere. [Read](https://www.theguardian.com/film/2023/feb/12/blue-jean-review-rosy-mcewen-is-riveting-in-powerful-section-28-drama-georgia-oakley) - **IndieWire**, Jude Dry (A-): Dry praises the film as a politically resonant drama that balances personal struggle with queer joy. She singles out Rosy McEwan’s performance, especially its revelatory late scene. [Read](https://www.indiewire.com/criticism/movies/blue-jean-review-lesbian-drama-1234872768/) - **Variety**, Guy Lodge (Critics Pick): Lodge finds the film a quietly powerful, morally clear account of systemic homophobia, though it sometimes hesitates to make bolder choices. He particularly praises Rosy McEwen’s precise, restrained performance as Jean. [Read](https://variety.com/2022/film/reviews/blue-jean-review-1235366106/) - **Empire**, John Nugent (82/100, inferred): Nugent finds Blue Jean a stirring, gorgeously presented portrait of queer history, despite occasional lack of subtlety. He singles out Rosy McEwen’s striking, sensitive performance and screen presence for praise. [Read](https://www.empireonline.com/movies/reviews/blue-jean/) - **Evening Standard**, Charlotte O'Sullivan (4/5): The critic finds the film brilliant and hopeful, with only minor issues in its metaphors and ending. She singles out Rosy McEwan’s compelling, exhilarating performance for particular praise. [Read](https://www.standard.co.uk/culture/film/blue-jean-movie-review-rosy-mcewan-bafta-section-28-b1058797.html) - **The i Paper**, Francesca Steele (80/100, inferred): Steele finds the film tender and bittersweet, praising its terrific acting and subtle, big-hearted script. She particularly singles out Rosy McEwen’s performance and the film’s nuanced handling of its secondary characters. [Read](https://inews.co.uk/culture/film/blue-jean-review-a-closeted-teacher-navigates-thatchers-britain-in-this-big-hearted-debut-2134311) - **Time Out**, Hanna Flint (4/5): Flint presents the drama as a stirring, clearly positive queer story. She singles out its sapphic power set against Thatcher-era Britain. [Read](https://www.timeout.com/movies/blue-jean-2023) - **Los Angeles Times**, Robert Abele (76/100, inferred): A confident, compassionate portrait makes the past feel unnervingly relevant, though the score can occasionally feel overbearing. The critic especially praises Rosy McEwen’s finely controlled performance and its portrayal of Jean’s guardedness coming apart. [Read](https://www.latimes.com/entertainment-arts/movies/story/2023-06-15/review-blue-jean-rosy-mcewen-georgia-oakley) - **Slant Magazine**, Diego Semerene (3/4): The review sees the film as a compelling portrait of life made unlivable by British homophobia, though it sometimes finds the treatment redundant. It praises the film’s fine-grained observation of Jean’s world and its gorgeously shot 16mm imagery. [Read](https://www.slantmagazine.com/film/blue-jean-review-georgia-oakley/) - **The Hollywood Reporter**, David Rooney (72/100, inferred): Rooney finds the drama trenchant, assured and sadly timely, praising its sensitive portrait of a woman divided between private acceptance and professional concealment. He singles out Rosy McEwen’s quietly stirring performance and the film’s intimate, evocative handling of its political backdrop. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/blue-jean-review-rosy-mcewen-georgia-oakley-lgbtq-1235519661/) - **Screen Daily**, Wendy Ide (70/100, inferred): Wendy Ide describes the film as an impressive debut. She singles out Rosy McEwen’s knockout performance for praise. [Read](https://www.screendaily.com/reviews/blue-jean-venice-review/5173545.article) - **Sight and Sound**, BFI (70/100, inferred): The critic finds Blue Jean a touching, sensitive drama, though some narrative shortcuts and heavy-handed moments weaken it. They especially praise its vivid evocation of queer community and the commanding performances of Rosy McEwen and Kerrie Hayes. [Read](https://www.bfi.org.uk/sight-and-sound/reviews/blue-jean-intriguingly-slippery-queer-drama) - **The New York Times**, Jeannette Catsoulis (65/100, inferred): The page content was blocked, so the critic’s verdict and specific praise or complaint cannot be verified. The URL identifies the article as a review of Georgia Oakley’s film. [Read](https://www.nytimes.com/2023/06/08/movies/blue-jean-review.html) - **Little White Lies**, Sarah Cleary (3/3/2): Cleary finds the film well-intentioned but timid, arguing that its subject calls for a more uncompromising approach. She criticizes the airless period atmosphere and the film’s lack of specificity in depicting Section 28’s effects. [Read](https://lwlies.com/reviews/blue-jean) - **NME** (90/100, inferred): The critic calls the film powerful, poignant and quietly devastating, with a timely cautionary message. They single out Rosy McEwen’s riveting performance as a woman consumed by internalised homophobia. [Read](https://www.nme.com/reviews/film-reviews/blue-jean-review-thatcher-section-28-3395514) - **The Playlist** (90/100, inferred): The headline presents the film as a brilliant, complex debut. It singles out the drama’s credible portrayal of queer life in the 1980s. [Read](https://theplaylist.net/blue-jean-review-georgia-oakleys-brilliant-debut-is-an-astonishingly-credible-complex-queer-80s-drama-20220907/) - **The Skinny**, Josh Slater-Williams (★★★★): The review finds the film’s cumulative impact special, despite some repetitive dialogue. It praises the intimate cinematography and editing, especially the contrast between the claustrophobic school and queer communal spaces. [Read](https://www.theskinny.co.uk/film/new-releases/blue-jean) - **Deadline**, Anna Smith (78/100, inferred): Smith finds the film poignant, refreshing and educational, with its restrained emotions landing effectively. She praises the sense of sisterhood in Viv’s home, while noting that some dialogue feels too modern for the 1980s setting. [Read](https://deadline.com/2023/06/blue-jean-review-venice-film-festival-1235107188/) - **Eye for Film**, Amber Wilkinson (75/100, inferred): Wilkinson finds the character study moving and effective, while noting that some metaphors are too heavy-handed. She especially praises Rosy McEwen’s tightly wound performance, which conveys Jean’s constant stress. [Read](https://www.eyeforfilm.co.uk/review/blue-jean-2022-film-review-by-amber-wilkinson) ## Details - **Director:** Georgia Oakley - **Director:** Georgia Oakley - **Writer:** Georgia Oakley - **Cinematography:** Victor Seguin - **Editor:** Izabella Curry - **Music:** Chris Roe - **Production design:** Soraya Gilanni Viljoen - **Producer:** Hélène Sifre - **Cast:** Rosy McEwen as Jean Newman; Kerrie Hayes as Vivian Highton; Lucy Halliday as Lois Jackson; Lydia Page as Siobhan Murphy; Becky Lindsay as Jill; Maya Torres as Mindy Singh; Ellen Gowland as Carol Ridley; Amy Booth-Steel as Debbie - **Runtime:** 1h 37m - **First release (Italy):** 1 September 2022 - **Genres:** Drama - **Box office:** $110,722 - **Trailer:** https://www.youtube.com/watch?v=Ig4pNINEsmc ## Where to watch in New Zealand - Amazon Prime Video: streaming - Apple TV: rent NZ$5.99, hd - Amazon Prime Video: rent NZ$5.99, hd - Amazon Prime Video: buy NZ$9.99, hd - Apple TV: buy NZ$17.99, sd *Checked 2026-09-30.* Also available in: AR, AT, AU, BE, BR, CA, CH, CL, CO, DE, DK, FI, FR, GB, IE, IT, MX, NL, NO, NZ, PA, SE, US. Add `?region=XX` to this URL for another country. ## If you liked this - *My Beautiful Laundrette* (1985), Fi1m 85: Thatcher’s Britain again, warmer and stranger, with a love affair nobody has planned for — [Fi1m page](https://film.one/film/my-beautiful-laundrette.md) - *Carol* (2015), Fi1m 88: Another woman keeping a life in a separate drawer, shot with the same care for surfaces — [Fi1m page](https://film.one/film/carol.md) - *Rafiki* (2018): Two young women in Nairobi under a hostile law, filmed in colour rather than dread - *Weekend* (2011), Fi1m 86: Nottingham, two men, forty-eight hours, and the same trust in a held face — [Fi1m page](https://film.one/film/weekend.md) - *Pride* (2014), Fi1m 82: The loud, communal version of the same decade, for when you want a march — [Fi1m page](https://film.one/film/pride.md) --- © Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/blue-jean