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Review of “The Gymnast”

The Gymnast, a new film written and directed by Ned Farr, is a drama with a rare kind of beauty and power. Seldom before has a movie about middle age and sexual confusion brought with it such a tangible sense of longing and realism without losing its sense of humor. The Gymnast scores points not only for its resonant storyline and gorgeous choreography, but also for giving visibility to two of the most underrepresented groups in the lesbian film cannon: middle-aged and Asian American women.

The central character is Jane (played by producer Dreya Weber, who starred as dark-haired jock Luce in the 1996 indie lesbian film Everything Relative), a 40ish ex-Olympic gymnast who has lived a life of quiet desperation since an injury curbed her medal hopes. She works as a massage therapist and exercises religiously, instilling the same discipline on her body that she did in her youth. She is trapped in a dreary marriage, with a man she barely speaks to, and seems to survive on anti-depressants.

Though Jane’s life at the beginning is bland and dull, Jane herself is a passionate, dedicated person, and an immediately likeable character. She throws herself into her training, working hard to preserve the body that can no longer naturally bear children. Jane’s relationship with her body is a tenuous one, despite her fitness and formidable strength; she feels that it has now failed her twice. She’s searching for something to rekindle the fire from her past, and she serendipitously takes a trip to a gym in town to reconnect.

Enter Nicole, a coach who is developing a cirque du soleil-esque acrobatic act. Nicole recruits and trains Jane and the graceful Serena (Addie Yungmee) to be part of the show, and soon enough, the pair is flying stylishly through the air. It doesn’t take long to realize the chemistry developing between the two, as there’s much more boiling beneath the surface than either of them initially lets on.

These early sequences are among the best in the film, highlighting Jane’s newfound sense of freedom and realization; she is finally doing something she loves again. Adding to this happiness is the carefree, exuberant Serena, a younger woman who awakens something utterly new in Jane. As the two spend more and more time together training alone for their act, the sexual tension builds and builds until they finally kiss, in a breathy scene that just begs to be fulfilled.

Throughout the film, Jane seeks the counsel of her friend and former teammate, Denise, a fiery and free-spirited soul with a West Hollywood mansion and an unlimited supply of wine, chocolate, and advice. Denise encourages Jane to act on her feelings, to pursue the dream of performing in Las Vegas, and to pursue romance outside of her marriage.

It is Denise’s advice to “sex up the show” upon seeing their act, and Denise’s money that buys the costumes for Jane and Serena. Allison Mackie is perfect in the role, acting as both the caring best friend and the devil on Jane’s shoulder who tempts her to go just a bit further.

Jane soon finds herself in very new territory, with all of the messy complications one would expect. Jane has always seen herself as straight, and she’s never had feelings for another woman before (“Isn’t it a bit late?’ Denise quips, quoting Jane’s age yet again), so she’s unsure of how to act.

She confronts Serena after their kiss, telling her,”I’m so sorry, it’ll never happen again. I’m not… gay, if you were wondering.” Serena replies. “Well, I am.” A relationship is born, with all the heady glory of forbidden love. Jane is torn between Serena and her husband (David), who has suddenly decided that he’s changed his mind about having a baby.

As melodramatic as this may sound, it’s all played out very realistically, from Jane’s teenager-like awkwardness on the phone with Serena, to her double-take at David’s sudden change of heart. This is a woman who’s had her life turned upside down, and Weber plays her with alternating tenacity and hesitance.

As an examination of sexual awakening and the complications that arise, The Gymnast is unmatched. Serena, despite being the younger of the two, is confident and experienced. She is perfect as Jane’s object of affection, a smart, sexy, competent partner. David is the polar opposite, but he represents the stability and life that Jane has always known, as well as the last chance for her to have a child. Realistically, Jane hesitates between the two.

The film also does an excellent job of highlighting the parallel journeys upon which Serena and Jane embark. While Serena is gay, she is closeted to the extreme (she even remarks that she’d rather die than come out to her aging parents). The two make a pact that is symbolic of their struggle: Jane will tell her husband about Serena, and Serena will come out to her parents. This is the first big test of their fledgling relationship, and Jane’s hesitance all but ruins their chances.

This isn’t to imply that The Gymnast is one giant soap opera. The film is presented with a light touch, never wavering too long on a dramatic close-up or venturing too far into melodramatic territory. It also allows its characters to lighten up and joke with one another, showcasing a wicked sense of humor.

In one uproarious scene, Serena shocks a masseuse with her outrageous nipple-piercing, and in another, the two women frolic around Denise’s empty mansion in crazy “Lady Marmalade” costumes. These light moments serve to break up the unbearable tension between the characters and allow Jane (and the audience) to breathe and enjoy the moment.

Similarly, the dance/acrobatics scenes are testament to the beauty of motion and freedom. Jane’s awakening is all-encompassing, it is spiritual, physical and sexual, and these sequences render each aspect with grace and whimsy, without ever getting pretentious. They are, quite simply, a joy to watch.

The Gymnast is a beautiful, understated film. Often, movies that attempt to examine a character’s sexual awakening fall into cliché, but The Gymnast rises above to deliver something more. Jane’s struggles are resonant, the complications of her life feel realistic, and her performances are inspiring. Moreover, it is refreshing to see a film that features actresses that aren’t uniformly white and in their twenties playing lesbian roles.

Ultimately, the movie is triumphant because it stays true to itself and its characters. The Gymnast ends on an appropriately wistful and satisfying note, capping off a film that is uniquely real and alive.

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