Despite some undercooked themes and the odd over-explanation, “Chuck Chuck Baby” beautifully explores what it means to be queer in a small town. “I can’t breathe here,” Joanne tells Helen in a revealing moment. It’s a beautifully written line that speaks deeply to the issues queer people face growing up, and how homophobia lingers long and stews in the mind for days, months, and even years after the words have been said. Returning to her hometown is incredibly difficult for Joanne, whose upbringing never allowed her to embrace who she was, hiding away her true feelings for Helen. Only 20 years later is Joanne finally able to tell Helen her feelings, having been able to open up about her sexuality away from her hometown trappings. The impact of small-town homophobia has clearly impacted Helen too, who’s lived a life that’s not amounted to a whole lot, as she’s felt more comfortable in the shadows; you cannot hurt what you cannot see, which seems to be the mantra she’s unwittingly saddled herself with.
Watching Helen embrace her true feelings and slowly but surely make her way into herself is where “Chuck Chuck Baby” is best. Louise Brealey gives a fabulous performance, refusing to succumb to showy displays, instead preferring a gradual revolution that feels grounded and believable. Her chemistry with Annabel Scholey is potent, and their burgeoning relationship is lovely — these characters have waited decades for this relationship to become a reality, and you can feel the excitement, and the trepidation, in each moment.
This is ultimately a film about the warmth and power of female relationships. Whether between Gwen and Helen, Helen and her co-workers, or the romance of Helen and Joanne, these connections are warm and cuddly, particularly in contrast to the icy relationship between Helen and her ex Gary. The way these women support and uplift each other, whether through a tender, knowing glance, or a screaming outburst, is cleverly captured.
Though “Chuck Chuck Baby” treads familiar plot beats and offers little surprise, it’s something of a feat to turn such familiar British film territory into something prominently LGBT+. Its innate understanding of queerness and female bonds allows the lesbian relationship to never feel like window dressing. It’s a film about how we don’t have to accept the cards dealt to us; it’s never too late to want more from life, and from living.
/Film Rating: 6 out of 10
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